Gazing

Gaze

Ourselves can be recognized in the view of “others”. “Showing up” makes everyone act as “others and selves”. Gaze, as a way, vanishes the specificity of time. History plays the role that is referred repeatedly. The “non-exiting” of more than sixty actors in the “Gaze” leaves us a chance to complete a scene of imaginary agreement.

A formal watching is often misunderstood as a pause to reality, and it becomes the proof of truth by cutting off the successiveness of events. It is often allocated to every details, the facial characteristics, the position of body, expressions, etc. Gaze creates a system to make forms, and it must have characteristics as below: “vanishing the trails of man-making and reaching the self-evident position by repeated use.” It should reach the proficiency as stitching, and gazing and being gazed is stitched in idealization, which makes the behaviors of minor people watching majority be connected seamlessly.

The visualization of reality offers a legal platform for gazing and makes watching become the only subject. Watching makes the reality only be identified as landscape and reach a consensus in symbol agreement, or resistance symbol. Resistance is degraded as a secondary trade market in the landscape ceremony.

“On the way”

Whose look do we care about? How do we appear on the stage?  Who is watching us?  A perfect appearances includes its duality, for him, for selves, and the potential desire to appear on the stage and play pushes them and themselves under the spotlight, waiting in preparation. He reminds me a poem: Sea! To whom do you show your blue before I come to you? In each appearance on the stage, where does the gaze come from? I appear on the stage in this way, can he, she, or it see?

The words and form of appearance are determined by imaginary gaze potentially and related to our knowledge system, the sheer executive capability, selective satisfication, and selective forgetting. Appearance is to fill a position yet to present.

—Wang Jianwei