王淨薇 Way

Dragons* (far and wide) 9 ½ × 5 ½ × 9 inches and 13 × 4 × 6 inches Found objects; porcelain by Felisa Nguyen and Ching-Wei Wang (Way)

🪶 @peidimaoyyu @limbafter1imb

「這樣的轉變最顯而易見的即是影像內容不再『直接』指涉二二八事件。⋯⋯藝術家這次做法是將這份感受隱匿於作品更幽微的地方，同時擦拭影像的行為所能觸及的也不再僅限、聚焦於特定的歷史事件，而是具備更多解讀的空間，甚至是更純粹的指向時代、記憶的消逝也不無可能，就如同她所說，在做出這樣的選擇時，心態上已經接受了某種作品意義上的質變。」 ——節錄自林君達於台新藝術基金會ARTalks的展演評論〈在擦拭之中：王淨薇在《永遠維持現狀》中的創作轉向〉 ｜評論全文｜link in bio .tw/talks/571/39963 @taishin_arts_award @linchunta_1997

《永遠維持現狀》高雄場 Maintain Status Quo Indefinitely Kaohsiung edition 2.20（五）｜2.21（六）｜3.6（五）｜3.7（六）｜3.8（日） 高雄市立美術館 404 展覽室 Kaohsiung Museum of Fine Arts Gallery 404 ． #王淨薇 #ChingWeiWang

很開心在新年假期尾聲完成了《永遠維持現狀》高雄場的首兩場演出。第一次在臺灣發表這件作品，對我而言，歷史語境、互動張力，以及個人意義都格外不同。謝謝特別前來的朋友，也謝謝駐足停留的觀眾。 很受友人家瑄的一段回應觸動： 「能感受到裡面的情緒，但又很內斂，可以感受到微妙的張力，不願說太多，也不願意被問，但在自己努力消化的感覺，很像看你在寫日記，在一本妳父親留下來充滿浮水印的日記本上，擦拭掉那些從別人那裡聽到的訊息。」 也很喜歡藝文編輯思宇敏銳的觀察和書寫： 「最後，我們聊到跪著擦拭地板的動作，再加上無法忽視地、她作為一位『女性』所透露出來的身體語言。『地板要跪著擦才擦得乾淨，』她提起一句曾經聽過的話。讓我想起《無法送達的遺書》中，政治犯受難者的妻子身影，安靜、內斂、不願意談、無法去談的種種，也許她們手心中都有一砵像這樣的粉末吧。」 很幸運有友人大衛替我記錄下這些瞬間，特別想在二二八這個時間點與大家分享。 ． 《永遠維持現狀》高雄場｜最終場次 3.6（五）3.7（六）3.8 （日）下午2:00 高雄市立美術館 404 展覽室 ． #王淨薇 #ChingWeiWang

《永遠維持現狀》行為表演高雄場｜#演出預告 作為 2026 年高雄獎入圍作品之一，藝術家王淨薇將於過年期間首演現地行為表演系列《永遠維持現狀》高雄場。 Shortlisted for the 2026 Kaohsiung Award, artist Ching-Wei Wang (Way) will begin the site-specific performance series Maintain Status Quo Indefinitely, Kaohsiung edition, during Chinese New Year. ． 行為表演《永遠維持現狀》高雄場 Maintain Status Quo Indefinitely Kaoshiung edition 過年時段 2.20（五）初四｜2.21（六）初五 3:00 p.m. 三月時段 3.6（五）｜3.7（六）｜3.8（日） 2:00 p.m. 高雄市立美術館四樓 404 展覽室 Kaohsiung Museum of Fine Arts Gallery 404 ． ． #王淨薇 #ChingWeiWang

is happy to introduce artist @micro_way in 𝙏𝙞𝙙𝙖𝙡 𝙄𝙨𝙨𝙪𝙚 𝟭: 𝙎𝙝𝙤𝙧𝙚𝙡𝙞𝙣𝙚. Ching-Wei Wang (Way) is a multidisciplinary artist based in New York. Her practice explores the poetics and embedded politics of Taiwan’s unresolved post-war statehood, with attention to layered identities shaped by colonial histories, geopolitical tension, and ideological frameworks. This condition of cultural ambiguity informs her engagement with collective memory, image governance, and the construction of language. With a background in writing and dance, her work draws on inferred language and embodied movement. She works across photography, performance, installation, writing, and artist’s books. Her work has been exhibited in New York, California, Taiwan, and Seoul. She is the recipient of the 2025 Snider Prize from the Museum of Contemporary Photography in Chicago. Way’s performance activates the archive through repetitive bodily labor. The act of wiping becomes a political movement, allowing the collective trauma to be endured through the physical pain of the individual body. Working within the rhythm of tides, she transforms abstract notions of history and memory into tangible acts—wiping, folding, tracing, embroidering... within such repetition, afterimage marks multiple temporalities. Shoreline—the boundary between land and sea—is not a fixed line, but an ever-shifting in-between space shaped by tides, erosion, and the drift of continents. Even the most solid ground moves slowly over time: what once marked a border may sink into water or rise as land. Find Way in her future performances and in the physical copy of 𝙏𝙞𝙙𝙖𝙡 𝙄𝙨𝙨𝙪𝙚 𝟭: 𝙎𝙝𝙤𝙧𝙚𝙡𝙞𝙣𝙚. Order a copy via the link in our bio ✉️ Explore more zug press publications at 👉 zugpress.com 𝙏𝙞𝙙𝙖𝙡 𝙄𝙨𝙨𝙪𝙚 𝟭: 𝙎𝙝𝙤𝙧𝙚𝙡𝙞𝙣𝙚, published by zug press, 2025, first edition, 300 copies. Featuring Artists @aatsubo @micro_way @aghigh_afkhami @kannetha.brown @tif_ng Editor @miukiia @zhu_gaocanyue Design @miukiia Logo Design @zefangzoe Credit: Drawing by Felisa Nguyen @palettknife , Photo 1,3 by Kuan Hsieh @kuan_hotdog Photo 4 by FarFar Studio @farfar_studio_ #zugpress

Climate Control @climate.control.sf ↳ San Francisco ↳ STAND E18 | GALERÍAS Presentando/Presenting: → Scott Galván @scottgalvann → Keith Boadwee @keithboadwee → Ishan Clemenco @ishanclemenco → Alonso Leon-Velarde @pinks_quirrel → Juni Aranda @JuniAranda → Ching-Wai Wang (Way) @micro_way → Felisa Nguyen @palettknife → Morgan Corbitt @not_morgan_corbitt 📸: [Cover] Alonso Leon-Velarde [2] Scott Galván [3] Felisa Nguyen & Ching-Wai Wang [4] Alonso Leon-Velarde Cortesía de/Courtesy of #ClimateControl 🎪 FERIA MATERIAL, VOL. 12 ↳ 5–8.FEB.2026 ↳ MARAVILLA STUDIOS ↳ Fresno 315, CDMX ¡ARTE QUÉ RICO! ٩(◕‿◕｡)۶

Excerpt from "Grass Bed," a performance by Felisa Nguyen and Ching-Wei Wang (Way) Feel so much gratitude to have filmed this site-specific iteration* inside of Vietnamese nail salons in Inner Sunset, San Francisco Special thank you to chị Mai ❀ + @samm.christian #FelisaNguyen #ChingWeiWang #王淨薇 艹 *"Grass Bed" (filmed Brooklyn, 2025) is currently on view at @climate.control.sf as part of the two-person exhibition "Even the wind is cautious"

sf recap / thank you* *to Nico, the heart + brain + father figure of Climate Control, and Jenny for opening up your lovely home to us *to Ishan, Việt, and Léonie for showing inspiring work alongside us this fall *to Emily, Clara, Renata, Tony, Shannon, Sam, Hammer, Sheryl for your support, conversation, and food recommendations *to Mai + các chị at Sensi Luxury Nails & Spa, and every confused antiques dealer in Chinatown

‘Even the wind is causious’ an exhibtion by Felisa Nguyen and Ching-Wei Wang (Way). @palettknife @micro_way Please join us for the opening reception Saturday, November 8th, 6-8pm. . Ching-Wei Wang (Way) is a Taiwanese artist based in New York. Her practice explores the poetics and embedded politics of Taiwan’s unresolved post-war statehood, with attention to the layered identities shaped by colonial histories, geopolitical tension, and ideological frameworks. This condition of cultural ambiguity informs her engagement with collective memory, image governance, and the construction of language. With a background in writing and dance, her work draws on inferred language and embodied movement. She works with poetry, translation, performance, installation, archival images, and artist’s books. . Felisa Nguyen is a Canadian artist of Vietnamese descent, living and working in New York City. Her practice is rooted in lived experience as a dispossessed body in the imperial core. Nguyen’s work is concerned with the dark matter — the untranslatable, the ambiguous, the feelings of loss and absence — in between documented accounts of the past. In her work, quiet gestures reveal the pivoting functions of objects which simultaneously obscure and uncover illegible histories. She examines the malleability of collective and personal memory surrounding orientalism, colonialism, the family, and incarceration, through objects which range from explicitly to ambiguously culturally coded.

happy to finally share “Grass Bed,” a performance by Felisa Nguyen and Way ⋆ ˚｡⋆🎐⋆ ˚｡⋆ filmed in New York, and on view at Climate Control, San Francisco, at our two-person show ‘Even the wind is cautious’ Opening reception November 8th, 6–8 p.m. On view November 8th – December 20th 2831 Mission St Climate Control / Being in life without wanting the world San Francisco, CA Photo by @kuan_hotdog