Pékin Fine Arts, No.241 Cao Chang Di Village, Cui Ge Zhuang, Chaoyang District, Beijing
3 Sept – 16 Oct, 2011
Chasing Sites is a relatively sedate presentation for artist Weng Wei, focusing on her ink paintings on rectangles of paper and cutouts affixed to clearly delimited sections of the gallery walls. These new works and their installation in Pékin Fine Arts have calmed the spontaneity of her earlier appearances, and this aspect of spontaneity—instigated in part by the precarious conditions under which she was then working—she now treats with some ambivalence. This show has become a critique of those conditions, with the new works as close readings of past installations, rationalisations of the things which she looked for from those venues but which she feels were lacking.
Thinking about subjectivity and how it comes about. Thought of as a product, and effect(?), of objects – of Marxian commodities, the actual results of this consumptive rumination on sexuality. Thinking a lot about this and the relation between image and text that is being investigated in Wei Weng’s Antimapping project.
There are narrative fragments but there is no linear coherence. We are encouraged to read vertically, through association, across the relations of text to image, along the terms of the primary processes of condensation and displacement. No longer consumers at the margin of a finished work, we are drawn onto the site and onto the process of meaning itself. In this process our sexed subjectivity and its pleasures in representation are also implicated, and indeed become the subject matter of the work. [a discussion of the films of Victor Burgin]
TICKNER, Lisa (1984). Sexuality and/in Representation: Five British Artists. In: ed. Preziosi, Donald, The Art of Art History: A Critical Anthology. Oxford: Oxford University Press 1998, p.364.