SOCIÉTÉ

Lu Yang

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP


Lu Yang’s 3D animations and installations explore fundamental questions about the relationships between the body and consciousness, spirituality and science, technology and the limits of being human. Yang introduces his own body into many of his works, subjecting this proxy to myriad experiments that seem to perpetually stage his own multiplication, disintegration, or dissection. The artist’s recent works revolve around the character DOKU, who Yang conceives as a digital shell or virtual human. DOKU is named after the phrase “Dokusho Dokushi,” meaning “We are born alone, and we die alone.” Yang has been working on the digital assets for this non-binary avatar for over two years and considers the character a reincarnation of himself into a digital parallel universe. Yang’s experiments with DOKU take on many forms, including a series of iconic light boxes recently displayed in the solo exhibition Digital Descending at ARoS in Aarhus, Denmark.

Lu Yang (b.1984, Shanghai) lives and works in Beijing and Shanghai. He was selected as Artist of the Year 2022 by Deutsche Bank. Yang is currently participating in The Milk of Dreams at La Biennale di Venezia and WORLDBUILDING curated by Hans Ulrich Obrist at the Julia Stoschek Collection. His work has also been presented in exhibitions at M Woods, Beijing; ARoS Museum, Aarhus; MOCA Cleveland; and Ullens Center for Contemporary Art, Beijing; Mori Art Museum, Tokyo; and Kunstpalais Erlangen. He has participated in group exhibitions at Rockbund Art Museum, Shanghai; CCA Tel Aviv; ICA, London; Muzeum Sztuki, Poland; Centre Pompidou, Paris; Hamburger Bahnhof, Berlin; and Fridericianum, Kassel.

 

LuYang NetiNeti

Zabludowicz Collection, London, 2022, curated by Paul Luckraft

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Enter the disorientating and darkly humorous worlds created by multimedia artist LuYang for their first UK solo exhibition. Immersed in the cultures of anime, video games and sci-fi, LuYang combines Buddhism, neuroscience and digital technology to investigate the mysteries and mechanics of the human body and mind. The title LuYang NetiNeti incorporates the Sanskrit expression ‘neti neti’, meaning ‘neither this, nor that’. The Main Hall focuses on the artist’s own avatar, DOKU, created using CGI animation and by motion-tracking the movements of dancers. The six versions of DOKU that exist to date correspond to the six paths of Buddhist reincarnation: Hell, Heaven, Hungry Ghost, Animal, Asura and Human. DOKU – Binary conflicts invert illusions is a new video commissioned by Zabludowicz Collection. It features the characters Heaven and Hell engaged in a dance on a yin yang symbol, leading to the formation of a new hybrid DOKU character, the binary god. Presented on a large screen on the altar, DOKU the Self follows a version of LuYang on a passenger aeroplane moving through numerous states of perception. The narrator contemplates the concepts of reincarnation, consciousness, and our understanding of ‘the self’. Our Back Gallery has been transformed into an interactive games arcade, with the ambitious Material World Knight project at its centre. Characters from LuYang’s earlier works appear, accompanying you on a philosophical quest through techno-psychedelic realms. The Middle Gallery screening room presents a selection of LuYang’s key video works, made in collaboration with J-pop idols, music producers and scientists. Entertaining, thought-provoking and sometimes grotesque, LuYang’s fantastic spaces don’t shy away from exploring human mortality and the nature of reality itself.

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

Installation view, LuYang NetiNeti, Zabludowicz Collection, London, 2022

 

LuYang: Experience Center

Artist of the Year 2022, Deutsche Bank, PalaisPopulaire, Berlin, 2022, curated by Britta Färber

Artist of the Year 2022, Deutsche Bank, LuYang: Experience Center, PalaisPopulaire, Berlin, 2022

Artist of the Year 2022, Deutsche Bank, LuYang: Experience Center, PalaisPopulaire, Berlin, 2022

In collaboration with experts from the fields of dance, music, philosophy and science, LuYang creates a posthuman metaverse in which identities are fluid. It opens up completely new art experiences that radically question concepts such as cultural identity, body, and gender, but also the perception of reality. This includes the transgression of previous human possibilities—be they intellectual, emotional, or physical—through the use of high tech and the extension of the body as a cyborg or avatar.

The unusual thing about this position is that the posthuman is in the context of Buddhist and Hindu cosmologies. The artist’s projects begin where current scientific and technological thinking intersects with traditional spiritual and philosophical principles. LuYang experiments with the notion that virtual existence can not only extend physical existence, but also replace it in the future with its unlimited possibilities—without binary categories such as natural/artificial or male/female. LuYang contrasts the idea of an identity anchored in the body and in chronological time with multiple identities and realities that know no fixed self but only permanent change.

Lu Yang’s avatars personify this change. They resemble anime characters and superheroes and are have names such as Human, Heaven, Fighter, Animal, Hungry Ghost, and Hell. Each avatar embodies one of the six realms of rebirth of Samsara, the karmic wheel of life that symbolizes the eternal cycle of birth, death, and reincarnation.

DOKU the Self is the first narrative film dedicated to the avatar. It is like a radical visual meditation: in breathtaking images, we can see how DOKU lives and dies in each of these Buddhist worlds,radically freeing itself from the concept of the self and the body.

The exhibition is like a high-tech laboratory that offers also a lookbehind the scenes of technology and the possibility to participate in a video. In addition to DOKU the Self, LuYang’s music video DOKU the Matrix, conceived expressly for the show, and the new series Bardo #1, which shows DOKU with its respective attributes in round mandala compositions, are presented. Engaging, philosophical, and sometimes disturbing, DOKU Experience Centerintroduces us to a way of thinking shaped by new technologies that is at once ancient and spiritual—a mind-expanding experience in the truest sense.

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP

Artist of the Year 2022, Deutsche Bank, LuYang: Experience Center, PalaisPopulaire, Berlin, 2022

Artist of the Year 2022, Deutsche Bank, LuYang: Experience Center, PalaisPopulaire, Berlin, 2022

Artist of the Year 2022, Deutsche Bank, LuYang: Experience Center, PalaisPopulaire, Berlin, 2022

Artist of the Year 2022, Deutsche Bank, LuYang: Experience Center, PalaisPopulaire, Berlin, 2022

 

DOKU the self

The Milk of Dreams, 59th International Art Exhibition of La Biennale di Venezia, curated by Cecilia Alemani

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP

Lu Yang’s 3D animations and installations adopt strategies taken from science, religion, psychology, neuroscience, medicine, games, pop culture, and music to highlight the biological and material determinants of what it means to be human in the 21st century. In doing so, he opens up fundamental questions about the relationships between the body and consciousness, spirituality and science, technology and the limits of being human. Yang introduces his own body into many of his works, subjecting this proxy to myriad experiments that seem to perpetually stage the multiplication, disintegration, or dissection of the body.

On the occasion of the 59th Venice Biennale: The Milk of Dreams, Lu Yang presents the most recent chapter in his ongoing work DOKU. The character DOKU is a digital shell, a virtual human named after the phrase “Dokusho Dokushi,” meaning “We are born alone, and we die alone.” Yang has been working on the digital assets for this non-binary avatar for over two years and considers the character a reincarnation of himself into a digital parallel universe. Building upon his ongoing interest in the digitization of the human body and mind, not only does Yang’s body provide the template for this virtual human, but his own memories form the core of DOKU’s first narrative film, which is inspired by a sensation of the “overview effect”—a cognitive shift in awareness sparked by observing the world from afar—that the artist experienced while flying during a lightning storm.

Installation view, The Milk of Dreams, 59th International Art Exhibition of La Biennale di Venezia, Photo: Roberto Marossi

Installation view, The Milk of Dreams, 59th International Art Exhibition of La Biennale di Venezia, Photo: Roberto Marossi

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP

Video still, Lu Yang, DOKU the self, 2022, 34 min 6 sec, Edition of 6 + 2 AP

 

False awakening

Kunstpalais Erlangen, 2022, co-curated by Malte Lin-Kröger and Nora Gantert

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

LuYang's art is a unique crossover of neuroscience and Buddhist philosophy, medical technology and body enhancement, as well as manga aesthetics and fantastical sci-fi. Inspired by social issues derived from these fields, LuYang creates artworks and digital avatars that can be read as commentaries on current identity debates as well as the supposed limits of cultural identity. The artist's claim, however, extends far beyond the realm of fiction - LuYang breaks with established categories of thought such as "real" and "artificial" or "male" and "female" right into his own biography. The question of a "true" biological gender is deliberately put aside in order to create mental freedom and to let creativity come to the fore. This concept is personified by LuYang's digital reincarnation Doku, a gender-neutral avatar who will also play the main role in a new video work created especially for Kunstpalais.

The exhibition False Awakening draws from global gaming culture not only in aethetic terms. Visitors are invited to slip into selected roles from LuYang's repertoire and explore his digital world.

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

Installation view, False awakening, Kunstpalais Erlangen, Erlangen, 2022

 

PUBLICATION

Lu Yang - Société Berlin
 

Electromagnetic Brainology

Bundeskunsthalle Bonn, 2022

Installation view, Electromagnetic Brainology (2017), Two-channel video installation, Bundeskunsthalle Bonn, Bonn, 2022

Installation view, Electromagnetic Brainology (2017), Two-channel video installation, Bundeskunsthalle Bonn, Bonn, 2022

Installation view, Electromagnetic Brainology (2017), Two-channel video installation, Bundeskunsthalle Bonn, Bonn, 2022

Installation view, Electromagnetic Brainology (2017), Two-channel video installation, Bundeskunsthalle Bonn, Bonn, 2022

 

Digital Descending

ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

The exhibition Digital Descending at ARoS takes the form of a flashing immersive world made up of sounds, screens, film and a video game, creating a sensuous and hectic digital universe. Visitors move through Lu Yang’s virtual parallel world inhabited by gods and demons, heroes, warriors and cyborgs inspired by universes hailing from the realms of gaming, manga and Eastern religions.

For many people, especially younger people, gaming offers a virtual parallel universe that can seem more interesting, immersive and stimulating than the real world. Lu Yang is very preoccupied with the realms of opportunity unleashed in these parallel worlds. Here you or your digital character can gain superpowers, adopt a range of different roles and zap across time and space, says curator at ARoS Jeanett Stampe.

In the various works featured in the exhibition, the artist’s own genderless avatar appears in multiple versions, including the brand-new hyper-realistic avatar DOKU, which constitutes the main character in the work DOKU – 6 Realms of Reincarnation. Lu Yang calls the avatar a digital reincarnation: DOKU is based on a high-tech face scan of the artist’s own face, capable of reproducing expressions with almost 100 per cent accuracy.

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

Installation view, Digital Descending, ARoS, Aarhus, 2021

 

Gigant DOKU - LuYang the Destroyer

Performance, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

Performance documentation, Gigant DOKU - LuYang the Destroyer, Garage Museum, Moscow, 2021

 

IMMATERIAL RE-MATERIAL: A Brief History of Computing

UCCA, Beijing, 2020

Installation view, IMMATERIAL RE-MATERIAL: A Brief History of Computing, UCCA, Beijing, 2020

Installation view, IMMATERIAL RE-MATERIAL: A Brief History of Computing, UCCA, Beijing, 2020

Installation view, IMMATERIAL RE-MATERIAL: A Brief History of Computing, UCCA, Beijing, 2020

Installation view, IMMATERIAL RE-MATERIAL: A Brief History of Computing, UCCA, Beijing, 2020

Installation view, IMMATERIAL RE-MATERIAL: A Brief History of Computing, UCCA, Beijing, 2020

Installation view, IMMATERIAL RE-MATERIAL: A Brief History of Computing, UCCA, Beijing, 2020

 

Cyber Altar

Art Basel Hong Kong, 2019

Installation view, Cyber altar, Art Basel Hong Kong, Hong Kong, 2019

Installation view, Cyber altar, Art Basel Hong Kong, Hong Kong, 2019

Lu Yangs’s work delves into the relationship between technology and religion, though these fields overlap without any pretense of binary opposition—religion is not always blindly superstitious and technology is not necessarily the pinnacle of scientific thought. The work Electromagnetic Brainology gets its pulse from the Buddhist and Hindu conception of the four great elements—Earth, Water, Fire and Air—corresponding to the four great pains in the brain’s neurological system. The artist thus creates four deities armed with modern medical techniques and equipment intending to dissolve the overarching sources of human suffering. These elements constitute our human bodies and the great pains of earth, water, fire and air become the slings and arrows, reflecting the difficulties that all people experience in their lives. The four decompositions discussed in Buddhism are a series of processes that ultimately lead to the death of our human flesh.

The artist incorporates her own image and form into the artwork without fear or hesitation, having a representation of her body inserted slowly into a coffin before being loaded headlong into an intricate, yet kitsch version of a traditional Chinese, ornament-laden funeral car. Since death is such a profoundly sensitive and fear-inducing taboo, particularly in societies with roots in Chinese culture, the artist has no choice but to incarnate herself in the leading role of the piece. Though images of Lu Yang’s own form are peppered throughout most of her works, her self-image should not be seen as a manifestation of the artist’s narcissism, but rather as a liberating exorcism ritual, an expulsion of immobilizing demons.

Installation view, Cyber altar, Art Basel Hong Kong, Hong Kong, 2019

Installation view, Cyber altar, Art Basel Hong Kong, Hong Kong, 2019

 

PUBLICATION

 
 
Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Uterus Man, 2013, video, length: 11 min 20 sec

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

Installation view, Micro Era - Media art from China, Kulturforum, Berlin, 2019

 

Material World Knight

Shanghai Biennale, Shanghai, 2018

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Material World Knight combines concepts of the “material world” found in Buddhist thought, namely the ultimate destruction of the universe. Against this backdrop of the “material world,” the artist imagines a battle between AI robots and humans. Part of the work was filmed using the urban model landscape at the Tokusatsu (special filming) exhibition of Contemporary Art Museum Kumamoto, and invited the Japanese cosplay group nyoROBOTtics and mechanical model designer Ikeuchi Hiroto to perform while wearing mechanical models. The exhibition site combines images, Tokusatsu models and landscape design, and integrates various pieces of works implicated by Lu Yang over the years, creating a complete Lu Yang style “material world.”

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Installation view, Material World Knight, Shanghai Biennale, Shanghai, 2018

Video still, Lu Yang, Material World Knight, 2019, Edition of 6 + 2 AP

Video still, Lu Yang, Material World Knight, 2019, Edition of 6 + 2 AP

 

Welcome to LuYang Hell

Société, Berlin 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Lu Yang’s multimedia installations combine video, sculptural elements, lighting, and soundtracks made in collaboration with different musicians. The videos themselves are fast-paced, delivering various types of information at once: highly detailed and sometimes intense digital imagery layered with moving graphics, voiceovers also available as subtitles in translation, and high-energy soundtracks ranging from techno to opera to death metal. The installations can be immersive and overwhelming. Viewers are left with strong impressions, but to grasp the videos in all their detail, viewers would probably have to watch them multiple times. Or you can let them wash over you – colorful and keyed-up, like a music video or a futuristic educational film.

“Lu Yang Delusional Crime and Punishment” (2016)

The protagonist of this video is Lu Yang herself: Her 3D-scanned head has been mounted on a stock CGI body. First, the figure is 3D printed and packaged with the label “Made by God”, then it’s tortured and drawn into hell. Lu Yang brings up the idea that, if humankind was created by a God, our propensity to sin was preordained, and our arrival in hell inevitable. The video invokes various religions’ symbols and mythologies regarding hell. Music by GAMEFACE.

“Lu Yang Delusional Mandala” (2015)

The CGI character with Yang’s face returns in this video, a meditation on medicine and technology. Her brain is submitted to a variety of tests discussed in voiceover. The video deals with the idea that technology might ele- vate humankind. It’s also filled with religious imagery and dancing digital marionettes. Soundtrack by DJ Cavia.

“Lu Yang Power of Will - final shooting” (2016) & “Lu Yang Gong Tau Kite” (2016)

This installation – comprising the balloon head and two videos – incorporates elements of two works: As her contribution to the exhibition “Smart Illumination Yokohama” in Japan in 2016, Lu Yang produced a giant balloon printed with her face – mouth open wide, beams of light erupting from her eyes. At Société, it takes a slightly different form filling two rooms. On one of the two monitors located nearby, viewers will find video documentation of the work set to a soundtrack produced by Yllis. The other monitor shows “Lu Yang Gong Tau Kite”. In 2016 – in Weifang, China – Lu Yang created and flew a giant kite depicting her 3D-scanned face. Her mouth is upturned into something between a smile and a grimace, her eyes are wide, and long strands of her hair snake along in the wind while it flies. The video incorporates footage filmed via drone.

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

Installation view, Welcome to LuYang Hell, Société, Berlin, 2017

 

Encephalon Heaven

M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Installation view, Encephalon Heaven, M WOODS, Beijing, 2017

Solo exhibitions

  • 2022

    NetiNeti, Zabludowicz Collection, London

    Deutsche Bank Artist of the Year 2022, Palais Polpulaire, Berlin

    MAM Screen 015, Mori Art Museum, Tokyo

    False Awakening, Kunstpalais, Erlangen

  • 2021

    Digital Descende, ARoS, Aarhus

    Digital Alaya, Jane Lombard gallery, New York

    Asrava World, COMA gallery, Sydney

    GIGANT DOKU, Garage Museum, Moscow

  • 2019

    Debut, BANK/MABSOCIETY, Shanghai
    Delusional Mandala, Fotografiska, Stockholm

    The Game World of Material World Knight, CC Foundation & Art Center, Shanghai

    Cyber Altar, Art Basel Hong Kong under the auspices of Société

  • 2018

    Electromagnetic Brainology – LuYang, Spiral, Tokyo

    Âme Nue, Hamburg

  • 2017

    Lu Yang Asia Character Setting Show, Special Special, New York

    Lu Yang: Encephalon Heaven, M WOODS, Beijing

    Welcome to LuYang Hell, Société, Berlin

    Delusional Mandala, MOCA Cleveland, Cleveland

    Delusional Mandala, Space Gallery, Portland

  • 2016

    Shanghainese in Yokohama, Zou no Hana Terrace, Yokohama

    Lu Yang, Delusional Mandela, abc gallery night, Société, Berlin

    LuYang Delusional Crime and Punishment, NYU Shanghai Art Gallery, Shanghai

    Delusional Mandala Lu Yang, interstitial, Seattle

  • 2015

    Lu Yang Delusional Mandala, Beijing Commune, Beijing

    ANTI-HUMANISME, OK Corral, Science Friction, Copenhagen

  • 2014

    Arcade, Wallplay, New York

    Selected Videos, Ventana244 Art Gallery, New York

    KIMOKAWA Cancer Baby, Ren Space, Shanghai

  • 2013

    UterusMan, Art Labor Gallery, Shanghai

    The Images Beyond Good and Evil, AMNUA, Nanjing

    Screening Program, 3331 Arts Chiyoda, Tokyo

  • 2012

    Holiday, Dundee Contemporary Arts, Dundee

    The Biggest Circle, Greene Naftali Gallery, New York

    Plymouth Rock 2, Whitney Museum of American Art, New York

    World Peace, Kunstverein München, Munich

    Rock, Vilma Gold, London

  • 2011

    11th Winds of Artist in Residence Part 2 – LuYang, Fukuoka Asian Art Museum, Fukuoka

    The Anatomy of Rage (Wrathful King Kong Core), Ullens Center for Contemporary Art, Beijing

  • 2010

    The Project of KRAFTTREMOR, Boers Li Gallery, Beijing

    Hell, Art Labor, Shanghai

    Torturous Vision, Input/Output, Hong Kong

  • 2009

    The Power of Reinforcement, Zendai MOMA, Shanghai

Group exhibitions

  • 2022

    Ghosts of the Machine, The Polygon Gallery, Vancouver

    WORLDBUILDING, curated by Hans Ulrich Obrist, Julia Stoschek Collection, Berlin

    THE MILK OF DREAMS, 59th International Art Exhibition of La Biennale di Venezia, Venezia

    Deutsche Bank Artist of the Year 2022, Palais Polpulaire, Berlin

    Beneath the Skin, Between the Machines, HOW Art Museum, Shanghai

    Hacking Identity- Dancing Diversity, Möllerei, Luxembourg

    Ultra Unreal, Museum of Contemporary Art Australia, Sydney , Australia

    Epoch Wars, Performing Lines, Australia

    No False Idols, 4A Centre for Contemporary Asian Art, Sydney

  • 2021

    The Earth is Flat Again, Muzeum Sztuki, Poland

    Rehearsing the future: Dance with Nonhuman, Alien Art Center, Kaohsiung City, Taiwan

    Rising festival Melbourne, Melbourne

    we do not dream alone, Asia Society Triennial, New York

    Borau Hall Screening, CineZeta, Madrid

    Fake Me Hard, Rotterdam

    Radical Gaming: Immersion Simulation Subversion, Haus der elektronischen Künste, Basel

    Ultra Unreal 2021, Museum of Contemporary Art Australia, Sydney

    MUNCH Triennale, MUNCH MUSEUM, Oslo

    Multi-prismatic Mutual View, Macau Cultural Centre, Macau Museum of Art, Macau

    5th Bian Metamorphosis, Organized by Elektra, Arsenal Contemporary Art, Montreal

    IMAGE TO IMAGE, Person Projects’s video-art series, Berlin

    Art for the Future International Biennial, Multimedia Art Museum Moscow, Russia

  • 2020

    Art Is Still Here: A Hypothetical Show for a Closed Museum, M WOODS, Beijing

    Neurones, Les Intelligences Simulées, Centre Pompidou, Paris

    pixelsfest, Yeltsin Cultural Center, Yekaterinburg

    FEEDBACK LOOPS, Australian Centre for Contemporary Art, Melbourne

    BIAN Biennale internationale d’art numérique, International Digital Art Biennale, Montreal

    Live performance at ELEKTRA Festival, Montreal

    Asia Society Triennial, New York

    LICHTSICHT – PROJECTION-BIENNALE, Osnabrück, Münster and Bielefeld

    Bangkok Art Biennale 2020, Bangkok

    Made by Artists online exhibition, Content Lab, Videotage, Hong Kong

    Bangkok Art Biennial 2020, Thailand

    “Heavy Bored”, Te Uru Waitakere Contemporary Gallery, Auckland

    Bit Street Hong Kong, New Art Fest 2020, Lisbon

    Futurological Congress at Transart Festival, Bolzano

    ACC Gwangju-Asia Artists Exhibition < UN·TACT >, Asia Culture Center, Korea

    IMMATERIAL, RE-MATERIAL: A brief history of computing art, UCCA, Beijing

    New Year Eve Screening, Tank, Shanghai

    Player of Beings, Ming Contemporary Art Museum, Shanghai

    Manque de Recul, Pearl Art Museum, Shanghai

    Learning What Can’t Be Taught, Asia Art Archive, Hong Kong

    Both Sides Now 6, Videotage Hong Kong, Videoclub UK

    Global launch of Cloud Nothing Music Video “Am I Something”

  • 2019

    Micro Era. Media Arts From China, Kulturforum, Berlin

    Stumbling Through the Uncanny Valley: Sculpture and Self in the Age of Computer Generated

    Imagery, The Center for Contemporary Art, Tel Aviv

    Chinernet Ugly, Centre for Chinese Contemporary Art, Manchester

    LOW FORM. Imaginaries and Visions in the Age of Artificial Intelligence, MAXXI (National Museum of XXI Arts), Video Gallery, Rome

    Some Kind of Halfway Place, Higher Pictures Gallery, New York

    TEC ART, Rotterdam

  • 2018

    Roskilde Festival, “Diesel Worm”, Roskilde

    Vector Festival, InterAccess Gallery, Toronto

    China bi-annual festival “China Time”, Art Space Âme Nue, Hamburg

    “Lumen Quarterly” by World Organization of Video Culture Development, Ullens Center for

    Contemporary Art, Beijing

    FUTURE FLASH 200, from Frankenstein to Hyperbrain, GOGBOT Festival for Creative Technology, Enschede

    Computer Grrrls, HMKV, Dortmund / La Gaité Lyrique, Paris

    Nowness Anniversary Exhibition, Shanghai

    True Self, Beijing Contemporary Art Foundation, Beijing

    Digital Art Festival Taipei, Taipei City

    AN IM AL Art Science Nature Society, Hong Kong City University, Hong Kong

    TAxT Taoyuan Science and Technology Festival, Taoyuan City

    Big Workout-Annual International Project III”, Art Museum of Nanjing University of the Arts, Nanjing

    Conversation on the Edge, School of the Art Institute of Chicago’s Department of Film, Video and

    New Media, in collaboration with the Gene Siskel Film Center and the Video Data Bank, Chicago

    From/To: the Frontier of Chinese Art Education-China Academy of Art at SFAI, San Francisco Art

    Institute, San Francisco

    6th Athens Biennale, “ANTI”, Athens

    12th Shanghai Biennale, Shanghai

  • 2017

    Zhongguo 2185, Sadie Coles, London

    promises of monsters, Fuchsbau Festival 2017, Hannover

    FOREVER FORNEVER, Rhode Island College, Bannister Gallery, Providence

    Culture City of East Asia 2017 Kyoto: Asia Corridor Contemporary Art Exhibition, Kyoto Art Center, Kyoto

    After Party 1 : Collective Dance and Individual Gymnastics, Blindspot Gallery, Hong Kong

    one world expo 2.1 #like4like, K11, Hongkong

    After Us, K11, Shanghai

  • 2016

    Hyperlinks 2, Center for Contemporary Art, Tel Aviv

    Believe In the Power of Gesture, Projektraum LS43, Berlin

    Post-sense-sensibility: Trepidation and Will, Minsheng Art Museum, Beijing

    ARE WE HUMAN?: The Design of the Species: 2 seconds, 2 days, 2 years, 200 years, 200,000 years, 3rd Istanbul Design Biennial, Istanbul

    Time Test: International Video Art Research Exhibition, CAFA Art Museum, Beijing

    Beijing Media Art Biennale, Beijing

    Smart Illumination, Zou no Hana Terrace, Yokohama

    Why the Performance, MCAM, Shanghai

    CYNETART Festival 2016, Theater Hall Hellerau, Dresden

    asia young 36, JEONBUK MUSEUM OF ART, JeonJu

    Green celadon, The Artist House, Tel Aviv

    Glas Animation Festival, Berkeley, San Francisco

    Asia Contemporary Art Exhibition 2016, Jeonbuk Museum of Art, Jeonbuk

    Liverpool Biennial 2016-Circuit Breaker Screening Program, Institute of Contemporary Art, London

    Queensland Film Festival 2016, Queensland

    Time Test: International Video Art Research Exhibition, CAFA Art Museum, Beijing

    The Exhibition of Annual of Contemporary Art of China, Minsheng Art Museum, Beijing

    The 3rd Edition of the International Digital Art Biennial, Montreal

    Mapping the Body, Galerie im Taxispalais, Innisbruke

    ARE WE HUMAN?: The Design of the Species: 2 seconds, 2 days, 2 years, 200 years, 200,000 years, 3rd Istanbul Design Biennial, Innsbruck

    The Shadow Never Lies, 21st Century Minsheng Art Museum, Shanghai

    We: A Community of Chinese Contemporary Artists, chi K11 Art Museum, Shanghai

    WeChat: A Dialogue in Contemporary Chinese Art, Wesleyan University Center for the Arts, Wesleyan University, CT; Asia Society Texas Center, Texas

    Temporal Turn: Art and Speculation in Contemporary Asia, Spencer Museum of Art, Kansas

  • 2015

    Glas Animation Festival, Los Angeles

    Imaginary Circle, Asian-Plastic Myths, Asian Cultural Center, Kwangju

    Weaving the Asian Democracy, Asian Cultural Center, Kwangju

    Moscow Biennale 2016, Moscow

    The Heart is a Lonely Hunter, Yarat Contemporary Art Space, Baku

    Psycho/Somatic: Visions of the Body in Contemporary East Asian Art, Allen Memorial Art Museum, Oberlin, OH

    Breaking Joints, Institute of Contemporary Arts, London

    Bad Asians 3.0, Dirty Looks NYC, New York

    Absolute Collection Guideline, SiFang Art Museum, Nanjing

    The 56th La Biennale di Venezia-China Pavilion, Venice

    Renzez-vous, Institute of Contemporary Arts, Singapore

    Essential Experiments: Introduce Chinese Video Arts, British Film Institute, London

    New Directions In Chinese Animation, Institute of Contemporary Art, Boston

    Fridericianum-Inhuman, Museum Fidericianum, Kassel

    Transcending Tibet-Mapping Contemporary Tibetan Art in the Global Context, New York

  • 2014

    OCAT-Pierre Huber Prize Shortlist Exhibition, OCAT Shanghai, Shanghai

    Performance and Imaginations: Photography from China 1911-2014, Stavanger Art Museum, Stavanger

    The 5th FukuokaAsian Art Triennale, Fukuoka Asian Art Museum, Fukuoka

    The IV International Biennale for Young Art, the Museum of Moscow, Moscow

    PANDAMONIUM: Media Art from Shanghai, Momentum, CAC/Chronus Art Center, Berlin

    My Generation: Young Chinese Artists, Tampa Museum of Art and Museum of Fine Arts, St.

    Petersburg, Florida

    PANDAMONIUM Micro-Exhibition #2: AI Weiwei + Lu Yang, Kunstquartier Bethanien, Berlin

    LA Asian Pacific Film Fest, Los Angeles

    Animamix Biennale 2013-2014 Rediscovery, Museum of contemporary art Shanghai, Shanghai

    Art Robotique”, Cité des Sciences et de l’Industrie, Paris

    Unpainted Media Art Fair – LAB3.0, Munich

  • 2013

    Neo Folk, Ikkan Art Gallery, Singapore

    7th Move on Asia, Alternative Space LOOP, Seoul

    No Name, Ren Space, Shanghai

    Queer project 2013, Nha San Collective, Hanoi

    Degeneration, OCAT, Shanghai

    Art World – Second Hand, Power Station of Art, Shanghai

    GLOBAL PHOTO COLLABORATIONS, Diesel Art Gallery, Tokyo

    West bund 2013 – A Biennial of Architecture and Contemporary Art, Shanghai

    ASVOFF – A Shaded Viewon Fashion Film, Centre Pompidou, Paris

    Cutlog Paris, Paris

    Rendez-vous 2013, Musée d’art contemporain of Lyon, Lyon

    OFF COURSE, FUORI ROTTA, FondazioneQueriniStampalia, Venice

    THE GARDEN OF FORKING PATHS:Exploring Independent Animation, OCT, Shanghai

    Some like it ho, Shanghai Gallery of Art, Shanghai

    Memo, White Space, Beijing

    Truth, Beauty, freedom and money, K11, Shanghai

    Tampere Film Festival, Tampere

    Pépinière, Lavitrine, Limousin Art Contemporain& Sculptures, Paris

    ON/OFF: China’s Young Artists in Concept & Practice, Ullens Center for Contemporary Art, Beijing

  • 2012

    ESCAPE(s) – in/from china #3, Centre d’Artsplastiquesetvisuels de Lille, Lille

    UNFINISHED COUNTRY, Asia Society, Houston

    PERSPECTIVES 180 – UNFINISHED COUNTRY: NEW VIDEO FROM CHINA, Contemporary Arts

    Museum Huston, Houston

    Dressing the screen – the rise of fashion film, Ullens Center for Contemporary Art, Beijing, China Reactivation – Shanghai Biennale 2012, Shanghai Museum of Contemporary Art, Shanghai

    Project Daejeon 2012:Energy, DaejeonMuseum, Daejeon

    The Shadow of Language, Royal College of Art, London

    Unseen – Guangzhou Triennial, Guangzhou Fine Art Museum, Guangzhou

    Hinterlands, Luggage Store Gallery, San Francisco

    VIRTUAL VOICES – approaching social media and art in China, Charles H.Scott Gallery, Vancouver

    Get It Louder, Beijing

    Rapid Pulse, DFB Performance gallery, Chicago

    Sub-Phenomena, the firstCAFAM-Futureexhibition, CAFA Art Museum, Beijing

    The Untouchables, Saamlung Gallery, Hong Kong

    Solar Plexus, V Art Center, Shanghai

    Solar Plexus, Space Station, London

    It takes four sorts: A cross-strait Four-Regions Artistic Exchange Project, Taipei Fine Arts Museum, Macau, Hong Kong, Osage

    FOCUS2012, KunsthalNikolaj, Copenhagen

    Symptoms, Iberiart, Beijing

  • 2011

    2011 Video Art in China – MADATAC, Reina Sofia Museum, Madrid

    Hypnosis, TIVAC, Taipei

    HIGH 5 – FIVE YEARS OF ART LABOR 2006 – 2011, Art Labor Gallery, Shanghai

    CAFAM Biennale – Super Organism 2011, CAFA Art Museum, Beijing

    Moving Image in China:1988-2011, Mingsheng Art Museum, Shanghai

    Little Movements: Possibilities of Self-construction in Art, OCAT, Shenzhen Hypnosis, Other Gallery, Beijing

    Future Festival, Top Building, Shanghai

    Focus on Talents Project, Today Art Museum, Beijing

    +Follow, Shanghai MOCA, Shanghai

    In a Perfect World…, Meulensteen Gallery, New York

    Grafted in, 53 Art Museum, Guangzhou

  • 2010

    Reflection of Minds-MoCA Shanghai Envisage 3, Museum of Contemporary Art, Shanghai

    Young Media Artists: China, Japan and Korea’ in INDAF 2010, Tomorrow City, Songdo, Incheon 2ND IMPRESSIONSArt Labor Gallery Openning Show, Art Labor Gallery, Shanghai

    Use the Hand Do the Job, Excellent Graduation Work, Shift space, Shanghai

    Exhibition of CAA, Gallery of China Academy of Art, Hangzhou

    Seven young artist, Beijing Commune, Beijing

    Jungle – A Close-Up Focus on Chinese Contemporary Art Trends Exhibition, Platform China,

    Beijing Burning Youth, Hangzhou

    GO Young Artist Group Show, OCAT Art Center, Shenzhen

  • 2009

    Bourgeoisified Proletariat —Small production, Songjiang, New City Thames Town, Shanghai

    The Quantity Bears Identity-How Shanghainese people treat themselves in a public transport,

    KultFluxArt Space, Vilnius

    PRESENT exhibition, CANART, Shanghai

    Yang Chang Xiao Dao, Am art space, Shanghai

    Itchy Young Artist Group Show, Biz Art, Shanghai

  • 2008

    Small production–No.5, Shopping Gallery, Shanghai

    Fractal Note–9/9], Metoo Space, Hangzhou, China 2008 [Spade], T-space, 798 Art Zone, Beijing

  • 2007

    Pierre Huber Creation Prize 2007, Biz Art, Shanghai

    what’s the time? Beijing, Shanghai Hangzhou New Media Art Exhibition, Creek Art Gallery, Shanghai fruits of experimental contemporary art education in China, Zendai Museum of Modern Art,

    Shanghai

Screenings

  • 2021

    Online screening: Lu Yang Studio Visit, Centre d’art Contemporain Geneve, Geneve

    Art Review Magazine, Arts Lovers Movie Club, Online Screening

    European Media Art Festival Online Screening, online screening internationally; offline screening, Ho Chi Minh City and Hanoi

    Chinese Arts Now, Online Screening

  • 2020

    Online Screening and Conversation, The Polygon Gallery, Vancouver

  • 2017

    Notes on the Afterlife, Rokolectiv Festival 2017, Bucharest

  • 2016

    East Asia Moving, Videoclub

  • 2014

    MOMENTUM_InsideOut Screening Nightly, Berlin Art Week, Berlin

    Warp Zone+Fay’s Festival, Amsterdam

    Video Art Competition THE 02, Poland

    inHOUSE Film Festival, London

  • 2012

    Impakt Art Festival 2012, Utrech

  • 2010

    Beijing 798 Art Festival, Beijing 798 Art Zone, Beijing