This article explores the aesthetic of the grotesque in Lu Yang's recent work Delusional Mandala (2015) and Delusional World (2020). I argue that the aesthetic of the grotesque envisioned in these two works becomes a radical tool for the artist's deconstruction and dismantling of the socially and culturally sanctioned boundaries of corporeality and normativity. My approach to Lu Yang's aesthetic of the grotesque is based on Sara Cohen Shabot's theorization of grotesque philosophy and the grotesque body as well on the concept of faciality proposed by Deleuze and Guattari in A Thousand Plateaus (1980). Two questions guide my reflection and readings in this article: What are the characteristics of the grotesque aesthetic in Lu Yang's films? In what ways does this aesthetic deconstruct concepts such as the human and normativity?
Gabriel Remy-Handfield is currently a doctoral candidate at the University of Montreal. His academic interests encompass contemporary East Asian literatures and visual culture, focusing on contemporary art, queer studies, new materialisms, critical posthumanism, Deleuze and Guattari studies, and the new media/digital arts. Gabriel has presented his research in many international conferences in North America, Europe, and East Asia. His dissertation examines the aberrant aesthetic in the work of new media artist Lu Yang. Email: firstname.lastname@example.org