| Abstrakt: |
Centering a genealogy of the image 形象 (xingxiang) in China, this article opens up the task of interpreting Lu Yang's (b.1984) works of animation and sound. To make sense of the artist's scientized preoccupations with disease, neuroscience, and biomedical interventions into brain–body interconnections, I argue that scientific uses of technology become an artistic medium for Lu, inhabiting and encoding his work from the 2010s, in particular Cancer Baby (2014). Framing the digital animation of this piece amid the fraught intellectual history of the image—a concept that carries generations, even millennia, of debate in China—the article offers a set of clues, if not a window direct, to opening up the dynamics of consciousness, materiality, and control in the artist's creative method. [ABSTRACT FROM AUTHOR] |
