Artist: Catalina Ouyang
Exhibition title: cunt waifu
Venue: Lyles & King, New York, US
Date: October 31 – December 6, 2018
Photography: images copyright and courtesy of the artist and Lyles & King
IN repeatedly trying to write the meaning(s) of violence
and how gender is incommensurately inscribed upon structures of power
the scene of unprecedented collective violence
Hair soaked in glue
grief is articulated through the body, for instance, by infliction of grievous hurt on oneself,
“objectifying” and making present the inner state
The women as objects on which the desire for nationalism could be brutally inscribed
Christ’s wound, and proof
in which case one would say that language is hooked rather inadequately to the world of pain,
to the details of everyday life
rain, bird shit, cigarette butts
Transactions in the Construction of Pain
including a hospital, a laboratory, barracks, a laundry, and a two-story bathhouse
The non-world into which she has been plunged
by making the bodies of women the surfaces on which their text of the nation is written
All the details of her life are the conventional ones associated with female martyrs of the early fourth century
a repository of poisonous knowledge
The idea that we do not need protection typically refers to an idealistic conception of truth: if we have truth on our side, it will protect us. One way to circumvent this habit of thought is to never divide people into good and bad, but to start instead from the fact that we all live in an unhealthy environment.
a type of plaster composed of sand, water, and lime
Like the feet of Chinese women
instability, self-recognition, and non-recognition
in making them impermeable
Her Catholic upbringing introduced her to Latin
this image of sexuality and its intimate connection with the project of nationalism has not only a genealogy in the Indian imagination, but it was also an important narrative trope in the representation of the violation of the project of the Empire
as it were the human incapacity for and refusal of peace
Because of its caustic qualities
Now the weight begins from the uppermost back of her head, pressing downward. It stretches evenly, the entire skull expanding tightly all sides toward the front of her head.
the precise book in which the accounts of past relationships were kept
where rain-fall was scarce in summer
so that she can hide the faults of her husband deep within her
the site for hysterical pregnancies
It happens but I am not there.
Characters
Veena Das
Theresa Hak Kyung Cha
Isabelle Stengers
Julia Kristeva
-Aurelia Guo, 2020
Catalina Ouyang, cunt waifu, 2020, exhibition view, Lyles & King, New York
Catalina Ouyang, cunt waifu, 2020, exhibition view, Lyles & King, New York
Catalina Ouyang, cunt waifu, 2020, exhibition view, Lyles & King, New York
Catalina Ouyang, it bears the traces if not the stigmata of its ancestry (Oriental Jane Doe), 2020, horse tibia, lime plaster, gypsum plaster, fabric, pigment, shellac, beeswax, resin, wood, ammonite fossil
Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020, various materials
Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020, various materials
Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020, various materials
Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020, various materials
Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020, various materials
Catalina Ouyang, a descent (Otherwise abandon it. Turn its face into the mud.), 2020, lime plaster, steel, hand-carved wonderstone, peanuts, acrylic image transfers scanned and printed from The Descent of Alette (Alice Notley, 1996), thread, epoxy resin, stop loss trap, gypsum plaster, shellac, discarded steel furniture parts, drag net
Catalina Ouyang, doubt I (the wreck and not the story of the wreck / at the floor of the flood / primordial lovers / groaning dreadfully / What have we done so wrong.), 2020, hand-carved alabaster, hydrocal, pigment, resin, carved maple, epoxy clay, found fabric, oyster shells, woven leather, drag net, 36 x 16 x 11 inches, 91.4 x 40.6 x 27.9 cm
Catalina Ouyang, doubt II (the thing itself and not the myth / what blood relation / turning horror into power / the sea that we carried for you / Do you not love us?), 2020, 2020, hand-carved alabaster, M1905 bayonet, lime plaster, gypsum plaster, horse hair, faux fur, pigment, epoxy resin, beeswax, burned rug, gauze, sewing pins, rat bones
Catalina Ouyang, untitled partition, 2020, government-issue steel bunk bed (early 1980s), horse pelvis, paper pulp, gypsum plaster, pigment, epoxy resin, chiffon, extruded polystyrene, hydrocal, pigment, acrylic, cement
Catalina Ouyang, untitled partition, 2020, government-issue steel bunk bed (early 1980s), horse pelvis, paper pulp, gypsum plaster, pigment, epoxy resin, chiffon, extruded polystyrene, hydrocal, pigment, acrylic, cement
Catalina Ouyang, untitled partition, 2020, government-issue steel bunk bed (early 1980s), horse pelvis, paper pulp, gypsum plaster, pigment, epoxy resin, chiffon, extruded polystyrene, hydrocal, pigment, acrylic, cement
Catalina Ouyang, untitled partition, 2020, government-issue steel bunk bed (early 1980s), horse pelvis, paper pulp, gypsum plaster, pigment, epoxy resin, chiffon, extruded polystyrene, hydrocal, pigment, acrylic, cement
