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TANK Artist Takeover | 变装皇后 Victoria Sin

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作为即将开幕的展览《More, More, More》“艺术家接管计划”的一部分,本周我们邀请了艺术家单慧乾(Victoria Sin)来接管油罐艺术中心的社交媒体平台,分享她/他最近的表演和写作。

As part of the upcoming exhibition More, More, More’s “Artist Takeover Project,” TANK Shanghai invited artist Victoria Sin to take over our social media platforms this week, sharing their recent performances and writings.

Victoria Sin

Instagram: @sinforvictory


I'd like to first share with you some images from a performance in 4 iterations I performed over the past year. If I had the words to tell you we wouldn't be here now is a piece about violence, emotion, and power in language and naming. It is performed as a duet between myself and an instrumentalist and is reimagined each time it is presented in relationship with the context it is presented in.

单慧乾 x 连珮如(琵琶演奏家),《如果我知道跟你说什么,我们就不会落到现在这个地步》,2019年1月16日,Chi-Wen画廊;摄影:Ivy Tzai

Victoria Sin ft. Peiju Lien, If I had the words to tell you we wouldn’t be here now, 16 January 2019, Chi-Wen Gallery. Photo: Ivy Tzai

单慧乾 x 马泰奥·吉莫洛(长笛手),《如果我知道跟你说什么,我们就不会落到现在这个地步》,2019年;第58届威尼斯双年展艺术聚会,2019年;摄影:里卡多·班菲

Victoria Sin ft. Matteo Gemolo (traverso), If I had the words to tell you we wouldn’t be here now, 2019. Meetings on Art, 58th Venice Biennale, 2019. Credit Riccardo Banfi

单慧乾 x 妮基·乔希(打击乐手),《如果我知道跟你说什么,我们就不会落到现在这个地步》,2019年,加拿大多伦多当代艺术博物馆;摄影:Lulu Wei

Victoria Sin ft. Nikki Joshi, If I had the words to tell you we wouldn’t be here now, 2019, MOCA Toronto. Photo: Lulu Wei

单慧乾 x  埃米莉·史克里杰(手风琴手),《如果我知道跟你说什么,我们就不会落到现在这个地步》,2020年,洛林当代艺术基金会

Victoria Sin ft. Emilie Škrijelj, If I had the words to tell you we wouldn’t be here now, 2020, Frac Lorraine

出版物和爱好者杂志是我的艺术实践中一个重要的部分。由我本人编辑、与PSS合作出版的《Dream Babes Zine 2.0》专注于推理小说会提出的问题,这些问题在当下显得格外重要。假如事情并非像现下这样呢?假如事情一成不变呢?我们如何能认识到熟悉之中的荒诞?这本爱好者杂志呈现了由索菲亚·阿尔—玛丽亚,丹妮尔·布拉思韦特—希尔,Angela Chan and Xia Jia, Orion J Facey, Wong Bing Hao, Tokini Irene Fubara, 伊玛尼·罗宾逊,阿什坎·西帕文德,丹妮拉·瓦尔兹,单慧乾和塞缪尔·R·德拉尼创作的内容。由PSS出版,可通过PSSSS.CO购买。

Publications and zines are an important part of my practice. Edited by myself and in collaboration with PSS, Dream Babes Zine 2.0 focuses on the questions that speculative fiction can ask which are especially important now. What if things were different? What if things stay the same? How can we realise the absurd in the familiar? It features contributions from Sophia Al-Maria, Danielle Brathwaite-Shirley, Angela Chan and Xia Jia, Orion J Facey, Wong Bing Hao, Tokini Irene Fubara, Imani Robinson, Ashkan Sepahvand, Daniella Valz Gen, Victoria Sin and Samuel R Delany.  Published by PSS. Available via PSSSS.CO.

最后,我想分享一些我的卸妆湿巾作品。我曾在在皇家艺术学院学习印刷, 我每次表演后的妆容的拓印,成为每个变装角色的死亡面具。它们将每个消失性的角色化身存档起来,成为它们自己的表演性形象。它们可以被视作绘画或者独幅版画。我注视它们的时间越久,它们被赋予的意义也就越大。这些照片都是我在多伦多、蒙特利尔和威尼斯的更衣间和酒店房间中卸妆的时候拍摄的。

To that end, I would like to share some of my facial wipe works. Having studied print at the Royal College of Art, these impressions which I take of my drag makeup after each performance become death masks of each character performed. They archive each ephemeral embodiment, becoming performative images in themselves. They can be seen as paintings, monoprints or drawings. The longer I look at them the more meanings they take on. These photos were all taken in the moment, in dressing and hotel rooms in Toronto, Montreal and Venice.


Someone I will be you won’t recognise, 2019


Collecting myselves, 2019


Maybe once you were a planet, 2019

/// 关于艺术家



Victoria Sin, born in Toronto in 1991, currently lives and works in London.  Sin identifies as non-binary and uses they/them pronouns. They use speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification. Drawing from close personal encounters of looking and wanting, their work presents heavily constructed fantasy narratives on the often unsettling experience of the physical within the social body.

Sin has presented work at the Museum of Contemporary Art, Toronto; MOMENTA Biennale de l’image, Montreal; Hayward Gallery, London; Dortmunder Kunstverein; the Venice Biennale; Whitechapel Gallery, London; Palais de Tokyo, Paris; Serpentine Galleries, London; Chi-Wen Gallery, Taipei; Taipei Contemporary Art Center; Brunel Museum, London; Institute of Contemporary Art, London; and Tate Modern, London.

/// 关于展览 More, More, More

油罐艺术中心即将隆重呈现最新展览《More, More, More》,由Passing Fancy(朱筱蕤和弗雷德里克·诺维尔)策划,埃莉斯·阿玛尼协助策划,展示28位艺术家新的委约作品和代表作。

《More, More, More》展览中的作品散布表达的种子,并把传播、不可翻译性和语言的外在性,视为交流的一个固有维度。本展览中的作品不停地泄漏、滴落、发芽、重复:,需要翻译、染色、分泌;发声、磕磕巴巴、反射和发光,“沾湿一切”,并扭动。这些作品在不停地生长,通过不同的方式,来回答最初的关于感知和形式的问题。

TANK Shanghai proudly presents our upcoming exhibition More, More, More. Curated by Passing Fancy [X Zhu-Nowell & Frederick Nowell], with Elise Armani, More, More, More includes new commissions and existing works by 28 international artists.

Works in this exhibition leak, drip, sprout, repeat:, require translation, stain, secrete; utter, stutter, reflect, and glow, “wet everything," and wiggle. These are projects that grow, in different ways, from questions that, in earlier incarnations, were directed to feeling and form.

/// TANK Artist Takeover 往期回顾

Ad Minoliti & Jenna Sutela

赵要 & Cecilia Bengolea


HUBLOT宇舶表于1980年成立于瑞士,以创造性地运用贵金属与橡胶的组合,开启创新历程。“融合的艺术”源于充满远见卓识的董事会主席Jean-Claude Biver的畅想,自2012年起在首席执行官Ricardo Guadalupe推动下不断向前迈进。秉承 “敢为先锋,独树一帜,与众不同”这一理念,宇舶表坚持保留传统的同时探索前沿工艺。通过材质上的创新(耐磨魔力金、明亮彩色陶瓷、蓝宝石)以及自产机芯的创作(Unico,Meca-10,陀飞轮),宇舶表始终处于潮流前端。



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