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'cunt waifu' by Catalina Ouyang at Lyles & King, New York

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 skulI 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

31.10.20 — 6.12.20

Lyles & King

'Green Belt', Group Show Curated by Em Marie Davenport at Jargon Projects, Chicag

'Cellular' by Andrei Pokrovskii at Plague Space, Krasnodar

'Rest' by Quay Quinn Wolf at Prairie, Chicago

'Bright Lights, Big City & No Fun', Curated by No Gallery at Shoot The Lobster, N

'Eavesdropping' by Adam Cruces at Blue Velvet Projects, Zurich

'QUALITY OF LIFE' by Brad Logan Heappey at Ivan Anthony Gallery, Auckland

'Klammern aus denen Blätter Sprießen', Group Show at Hunter Shaw Fine Art, Los A

'Mirror Runs Mouth' by Cooper Jacoby at High Art, Arles

'A Throw of the Dice' by Arthur Golyakov at Devyatnadtsat’, Moscow

'Lèche-vitrine', Group Show at Cocotte, Treignac

'Masters and Servants', Group Show Curated by Guillaume Breton at Centre d’art Yg

Anna Solal, Arthur Marie Curated by Ilya Smirnov at Lily Robert, Paris

'down4u' by Taka Kono at Ritsuki Fujisaki Gallery, Tokyo

'Controra Ep. I', Group Show Curated by Like A Little Disaster at Palazzo San Giu

'a fairy show II' at Veronica, Seattle

'The Curious' by Marta Frėjutė at VAA gallery Artifex, Vilnius

'The Room', Group Show at South Parade, London

'New Rain' by Littlewhitehead at Nir Altman, Munich

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