Catalina Ouyang “cunt waifu”
Lyles & King
This event has ended.
Outdoor Sculpture Space, 21 Catherine Street
anyone can be rendered formless.
nothing is “healed” but things are different.
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’s solo exhibitions include: it has always been the perfect instrument at Knockdown Center (Queens, NY); marrow at Make Room (Los Angeles, CA); fish mystery in the shift horizon at Rubber Factory (New York, NY); blood in D minor at Selena Gallery (Brooklyn, NY); and an elegy for Marco at the Millitzer Gallery (St. Louis, MO). Ouyang’s work has been included in group exhibitions at François Ghebaly Gallery (Los Angeles, CA), BRIC (Brooklyn, NY), Helena Anrather (New York, NY), fffriedrich (Frankfurt, Germany), like a little disaster (Polignano a Mare, Italy), Anonymous Gallery (Mexico City, Mexico), projects+gallery (St. Louis, Missouri), No Place (Columbus, Ohio), Field Projects (New York, NY), Gallery 400 (Chicago, IL), and others. Ouyang has attended residencies at Shandaken: Storm King (New Windsor, NY), the NARS Foundation (Brooklyn, NY), OBRAS (Evoramonte, Portugal), and the Atlantic Center for the Arts (New Smyrna Beach, FL), with residencies forthcoming at the Vermont Studio Center and MASS MoCA. Ouyang is a 2020-21 Studio Artist at Smack Mellon (Brooklyn, NY). Ouyang has received awards from the Foundation of Contemporary Arts, the Puffin Foundation, the Santo Foundation, Real Art Ways, and the Elizabeth Greenshields Foundation. Ouyang received an MFA from Yale University and is based in New York.
Media
Schedule
from October 31, 2020 to December 06, 2020
Opening Reception on 2020-10-31 from 13:00 to 18:00