Press Release

Chi-Wen Gallery at Frieze New York 2019 May 1-5, 2019 Main Section : Booth C45

Participating Artists: Chien-Chi Chang (張乾琦︎︎︎ ), Yuan Goang-Ming (袁廣鳴︎︎︎ ), and introducing Su Misu. Special video presentation by Chi-Wen Productions: Victoria Sin.

For Frieze New York 2019 Chi-Wen Gallery is delighted to bring a special joint-presentation of three Taiwanese artists, all working within the medium of photography and video.

Two of the artists, Chien-Chi Chang, a Magnum photographer who focuses on the abstract concepts of alienation and connection, and Yuan Goang-Ming, whose works address what he refers to as the ‘perplexing state of the world today’ both, each in their own way, address the issue of reunification and the spectre of a devastating war to achieve it. Chien-Chi uses sound and photography to document the tension between North and South Korea, while Goang-Ming uses video and drawing to document similar hostility between Taiwan and China.

As third member we are very excited to introduce, for the first time outside of Asia, Su Misu, a young photographer and performance artist who is at the forefront of a new generation of Taiwanese artists tackling such topics as LGBTQ+ and BDSM in their art.

As a special presentation this time, we are also proud to be showing our video production of Victoria Sin’s performance of “If I had the words to tell you we wouldn’t be here now” at our gallery last January. This performance will be restaged at the opening week of the Venice Biennale in Italy from 8 to 12 May.

Su Misu, ihategoodbye, 2016, Inkjet Print on Canson Baryta Prestige, 33.5 x 50 cm - Courtesy of the artist and Chi-Wen Gallery Taiwanese photographer Su Misu is known for exploring gender, BDSM and LGBTQ+ topics. Coming from a medical background, she’s interested in the “Synthetic”, the “Unnatural”, and other embodiments, using photography to discuss the struggle between the real and the illusory. Her work draws from Lacan’s psychoanalytic concept of the mirror stage, which is where a subject becomes alienated from itself and is introduced into an imaginary order. Despite her young age, Su’s photographic work is one of the highlights of our presentation due to her unique approach and skill in style and composition. With signature pieces of her recent series “ihategoodbye" and "I am a fake, but my heart is true” on show, one can get a clear understanding of the trajectory of Su’s practice. Natural light on 135mm negative, revealing clothes or nudity, no resplendent accessories affixed. Models gaze right through Su’s camera lens with a calm demeanor, as if there is nothing left to manifest. “ihategoodbye” is more of a “Watashi-Shashin” project: Photo shooting in a relatively casual manner, documenting an authentic lifestyle, nothing pretentious. Nevertheless, these portraits reveal what Su cherishes the most during the execution of her project: mutual respect. Though being dear friends already, Su said that she still tends to prevent any discomfort from happening between her model and herself while shooting photos, which can be an abusive experience.

Su Misu, I am a fake, but my heart is true, 2016, Inkjet Print on Canson Baryta Prestige, 27 x 40 cm - Courtesy of the artist and Chi-Wen Gallery

Intersectionality in gender identities is one crucial topic widely discussed by activists and academics. For Taiwanese artist Su Misu, there is a divine figure that provides the best representation of the notion: Bodhisattva. One can find Bodhisattva as a major motif in culture production throughout art history in Asia. The sexual character of this goddess of mercy is often depicted as neuter, genderless, or variable. Su adopted the renewal of enchantment as her strategy in staged photography, which made this project a modern allegory. Bright neon colors on traditional Taiwanese opera stage elements such as dragons and lotuses, indicate that the portraits at the center would naturally become avatars, the incarnations of the deity. Chien-Chi Chang, Voice of DPRK: Broadcast by Ri Chun-hee, August 17, 2011, Pyongyang, Sound Installation, 4’52” - Courtesy of the artist and Chi-Wen Gallery

Statement by the Spokesman of the Committee for the Peaceful Reunification of the Fatherland

“The American imperialists and the belligerent, maniacal puppet regime in South Korea have ignored our strong warnings and the condemnations of international and domestic public opinion, taking the provocative action of launching the so-called Ulchi Freedom Guardian joint- military exercises.

For a total of 11 days from the 16th to the 26th, South Korea rashly opened the current war games across its entire territory. If only counting official statements of participating military manpower, this includes 30,000 troops from the US including South Korean occupation forces and overseas support, and the command authorities of each of the puppet regime’s military branches and all forces under their flags totalling 530,000 troops.

In these war games, the American imperialists and belligerent, maniacal puppet regime deployed military personnel from both countries that had participated in the previous Korean War, blatantly showing their anticipation for a second Korean War that would again bring fire to ravage the Korean peninsula. The Committee for the Peaceful Reunification of the Fatherland strongly condemns this holding of the so-called Ulchi Freedom Guardian joint military exercises by the American imperialists and belligerent, maniacal puppet regime, and further notes for all peoples seeking peace on the Korean peninsula and internal or international communication this poses a serious challenge. At the same time, we vigorously declare that for us this is an intolerable act of evil provocation.

What cannot be ignored in these war games is that the US and the belligerent, maniacal puppet regime dare engage in comprehensive attack training targeting our leadership’s special combat troops and our nuclear bomb and missile bases as one part of these war games. That the puppet regime is forcing reckless provocation against our great dignity goes without saying. But together with the US it is also carrying out this large-scale exercise for a war to invade the North, and this move arouses hatred in the hearts of our army and people against the common enemy. To us this act is a comprehensive declaration of war.

The aggression of holding these war exercises completely strips off the mask of so-called peace dialogues worn by the Americans and the puppet regime. Against our replies of extreme tolerance and our labours for peace, the American imperialists and the puppet regime aggressively conduct provocative exercises for a war of invasion. This shows that they have no thoughts for the slightest bit of dialogue or improved relations, but rather reveals a psychology filled with belligerent intentions. On the surface they claim they want to enter “an age of peace and cooperation” and so on, but do not forget these war mongering fanatics secretly ignite the fuse for a war to invade the North, and this is the true face of these traitorous puppet politicians.

Even as the South Korean powers conduct the aforementioned invasion exercises, at the same time they are as busy as bees convening security council meetings, strengthening military border outposts, and carrying out civilian evacuation drills. That the mouths of these belligerent maniacs speak of mutual trust and justice is shameless in the extreme. These war games allow us to clearly see the true face of this war mongering puppet regime. Now the entire world very clearly understands who is the aggressor on the Korean peninsula, and who is destroying peace and dialogue. Those who like to play with fire will most certainly perish in flames. If the US and the belligerent, maniacal puppets in this way hope to ignite the fire of a war of invasion, the rage so far endured by our army and people will erupt like a volcano, wiping out the invaders in one fell swoop and fulfilling the dream of a unified Fatherland. America and the puppet regime must stop their foolish actions against us.

These war exercises further prove that the course we have so far chosen is the correct one, and strengthen our resolve to hold firm. Our army and people are unified with a single heart, and they will never tolerate the provocations and incitements of these war exercises by the US and the puppet war mongers.”

Juche 100 / August 17, 2011, Pyongyang Yuan Goang-Ming, Everyday Maneuver, 2018, Single-channel video, Colour, Sound, 5’57” - Courtesy of the artist and Chi-Wen Gallery

Yuan Goang-Ming’s video work “Everyday Maneuver” documents the annual Wanan Air Raid Drill, when the hustle and bustle of Taipei comes to a halt the moment the air raid sirens sound over the city. From its inception in 1978, the drill is mandatory for all Taiwanese to join. Despite the lifting of martial law in 1987, the drill continues to take place nationwide every spring. Today this ritual serves as a reminder that the threat of annexation still lurks across the strait. At the same time, this everydayness of warfare conjures a ghost city in modern-day Taiwan that becomes the perfect selfie spot for Taiwanese young people.

Yuan Goang-Ming, Towards Light, 2018, Installation, Dimensions Variable (right) What Lies Before Us? 2018, Pencil on Paper, 29.7 x 42cm (left) - Courtesy of the artist and Chi-Wen Gallery

“Towards Light” in its totality is an installation in a completely dark room where a five-second- long blinding flash of light occurs at random. When the intense light turns on, viewers see themselves in a completely white room filled with smoke where six white wooden chairs are placed on the white floor. This work draws inspiration from a black-and-white historical photograph taken in 1951, of high- ranking military officers sitting in white Adirondack chairs on the Marshall Islands in the Western Pacific Ocean, where the Dog explosion of Operation Greenhouse, the fifth American nuclear test series, was conducted. What these people were wearing weren’t sunglasses, but safety goggles that protected their eyes from the destructively blinding flash of the nuclear explosion, which took place on the far right end that was not depicted in the photograph.

A fundamental element of the image is light, which allows us to perceive the image. If light is pushed to the extreme, all impurities of the image extracted, how would we view and debate this “pure image”? “Towards Light” attempts to re-present the flash that was absent in that historical photograph, while exploring the rare human sensory experience of intense indoor light, which could be at once empyrean and violent.

Yuan Goang-Ming, The Strangers, 2018, Single-channel video, Colour, Sound, 6’24” - Courtesy of the artist and Chi-Wen Gallery

On weekends or holidays, the Zhongli train station in Taiwan is filled with migrant workers. The voices and odours in the station almost trick someone into thinking they’re in another train station in some Southeastern Asian country.

The total population of migrant workers in Taiwan has exceeded that of Taiwanese aborigines. They migrate for better economic or living conditions, a not-so-uncommon phenomenon that can be found throughout history. Today the world sees a surging wave of war refugees, from Afghanistan, Somalia, to Libya, from Myanmar's Rohingya people to five million refugees of Syria. If we think about the millions of Mainlander troops and civilians who retreated to Taiwan after the Kuomintang lost the 1949 Chinese Civil War, these immigrants, the artist's father included, are regarded as “displaced persons” under the category of sociology. And his father would be considered a refugee during the Chinese Civil War, a stranger away from home.

For “The Strangers”, Yuan uses a high-speed camera and a high-lumen spotlight to shoot from the passenger car through the window. As the train approaches the platform, he turns on the spotlight, and the high-speed camera begins filming the passengers waiting on the platform at a speed of 1,200 frames per second. The eight seconds of filming become eight minutes when played at a normal speed. As the camera captures each foreign face in high speed, these Strangers turn into sculptures, frozen in time, on a platform that morphs into a spotlighted stage where one by one they appear to be in a somber portrait that looks us in the face. Chi-Wen Productions

Renowned drag queen Victoria Sin combined their drag with multimedia art forms since 2013. Alternative narration is the aesthetic prominence of their video works.

Produced and commissioned exclusively by Chi-Wen Gallery and performed on January 16th 2019, Victoria Sin created ‘If I had the words to tell you we wouldn’t be here now’, a performance using storytelling, drag, and elements of Taiwanese and Chinese opera to question how language not only gives shape to thought, but shapes thought. The performance staged a conversation between a desiring queer body and a traditional Taiwanese string instrument, the Pipa. Set in Chi-Wen Gallery’s own water garden, the work brings together narrative and image in order to bring to light how identity and experience are not only represented but also created and reinforced through language.

Victoria Sin, If I had the words to tell you we wouldn’t be here now, 16 January 2019, Chi-Wen Gallery Live Film Recording of Performance, 22’15”, Photo by Ivy Tzai - Courtesy of artist and Chi-Wen Gallery

Victoria Sin (b. 1991) currently lives and works in London, UK.

Victoria Sin is an artist using 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. Victoria Recent presentations include: Meetings on Art, The 58th Venice Biennale, Venice (2019); Rising up in the infinite sky, Sophia Al-Maria: BCE, Whitechapel Gallery London (2019); Do Disturb, Palais de Tokyo, Paris (2019); PLANTSEX, General Ecology, Serpentine Galleries, London (2019); If I had the words to tell you we wouldn’t be here now,, Chi-Wen Gallery, Taipei (2019; DRAG, Hayward Gallery, London (2018); The sky as an image, an image as a net, Serpentine Park Nights, London, 2018; Swinging Out Over the Earth, Whitechapel Gallery, London (2018); Indifferent Idols, Taipei Contemporary Art Center, Taipei (2018); Block Universe, Brunel Museum, London (2018); A View From Elsewhere, Cafe Oto, London (2018); We Share the Same Tears, Whitechapel Gallery, London (2018); Glitch Feminism, ICA, London (2017); TATE EXCHANGE: GENDER TALKS, Tate Modern, London (2017). About Chi-Wen Gallery

Founded in 2004 by Chi-Wen Huang, Chi-Wen Gallery is one of Taiwan's leading galleries, showing the best of contemporary Taiwanese art with a focus on video and photography. The gallery is dedicated to supporting emerging artists with curatorial projects that explore the most cutting-edge subjects and has been actively participating in local and international art fairs. As such Chi-Wen Gallery is very much connected with today's art and represents artists whose work continues to grow in historical importance. Over the last decade Chi- Wen Gallery has fostered the careers of a diverse group of internationally renowned artists, both emerging and established, whose practices transformed the way art is made and presented in Taiwan today. These artists include Chen Chieh-Jen, Chien-Chi Chang, Chen Shun-Chu, Hung Tung-Lu, Jawshing Arthur Liou, Peng Hung-Chih, Tsui Kuang-Yu, Wu Tien-Chang, Yao Jui-Chung, Yuan Goang-Ming, Yin-Ju Chen & James T. Hong, Yu Cheng-Ta, Su Misu and among others.

Video: Art Basel - Meet the Gallerists: Chi-Wen Gallery https://youtu.be/zJprPO8_0OA

About the Artists

Su Misu (b. 1990) currently lives and works in Taipei, Taiwan.

As a photographer, Su Misu is known for exploring gender, BDSM and LGBTQ+ topics. Coming from a medical background, she’s interested in the “Synthetic”, the “Unnatural”, and other embodiments, using photography to discuss the struggle between the real and the illusory. Her work draws from Lacan’s psychoanalytic concept of the mirror stage, which is where a subject becomes alienated from itself and is introduced into an imaginary order. In her series ihategoodbye (2016), the artist, as the narrator in the documentation of a past relationship, looks closely at how she felt during those special moments, just before pressing the shutter of her camera. The virtual images reflect reality but are combined with the instability of alienation and estrangement.

Solo Show 2019 I am a fake but my heart is true, Part II, Chi-Wen Gallery, Taipei, Taiwan. 2016 ihategoodbye - Su Misu Solo Exhibition, Nanhai Gallery, Taipei, Taiwan.

Selected Group Exhibitions 2019 Mulan, Make Up!, Taiwan Academy in Los Angeles, LA, USA. 2017 Fun Femme Festival, Lez's Meeting at Treasure Hill, Taipei, Taiwan. 2016 Wet, Foto Aura, Tainan, Taiwan. ihategoodbye Su Misu x BDSM Co. x Zuvia De, Bengmipang, Kaohsiung, Taiwan. 2014 Retro : ConText, BDSM Company, Chung Shan Creative Hub, Taiwan.

Performance 2018 Porn Massage, Xplore Art Festival, Berlin, Germany. Music Video Impulse by SEN, Taiwan. 2017 AbyssHot x Su Misu x Ching, Lez's Meeting at Treasure Hill, Taipei, Taiwan. AbyssHot x Su Misu x Ching w/Soda Plains, Korner, Taipei Taiwan. Music Video A Fucking Day by The White Eyes, Taiwan. 2016 Androgyny XXX Party, Neo Studio, Taipei, Taiwan. Takatekote Shibari by Kichiku Girls, music video, Taiwan. 2015 Music Video King of Duobt by Hush, Taiwan. 2014 Maya Mai x Walker x Su Misu, Against Again Troupe, Taipei, Taiwan. Anti-oppressive, Tsui Jui-yueh Dance Research Directory, Taipei, Taiwan. Cave Project - Body Suspension, Taiwan UFO Cultural & Creative Park, Taipei. 2013 Takatekote Shibari with Nawakiri Shin, published by gbookstaiwan, Taiwan. 2012 Taipei Fringe Festival with BDSM company, Huashan 1914 Creative Park, Taiwan.

Publication 2016 ihategoodbye, photobook and diary

Selected Awards 2018 Overseas Arts Travel Fund, National Culture and Art Foundation, Taiwan 2016 Award for Young Artist - Visual Arts, National Culture and Art Foundation, Taiwan Chien- Chi Chang (張乾琦︎︎ ︎)

Chien- Chi Chang (b.1961) currently lives and works in Graz, Austria. Primarily using photography and video as his artistic medium, Chien-Chi Chang explores alienation and connection between people in contemporary society by developing long- term, interactive relationships with the subjects. In his early, well-known series The Chain (1993-1999) which was exhibited at the Taiwan Pavilion of the Venice Biennale in 2001 and the Bienal de São Paulo in 2002, Chang creates life- sized portraits of patients at Taiwan's Long Fa Temple psychiatric hospital. His 2002 series I do I do I do exposes subtle societal factors that underpin marriage using a photo album format. In Double Happiness (2015), Chang uses a straight-forward format to document the marriage brokerage process used by Vietnamese brides and Taiwanese grooms. Already starting in 1992, Chang became interested in themes related to the dispersion of individuals or families from their homeland, and in the 20 years hence, followed the lives of illegal immigrants in New York City's Chinatown who left China as a matter of survival. Entitled China Town and still in progress, the series was exhibited in the artist’s mid-career survey Doubleness at the National Museum of Singapore in 2008, and at the Taiwan Pavilion of the Venice Biennale in 2009. In 2007, Chang travelled with North Korean defectors from Northeast China to Thailand, documenting their lives for his work Escape from North Korea, which won the Canadian AnthropoGraphia Award for Human Rights in 2011. In recent years Chang has expanded his medium to include sound and the moving images, which has enriched his photography-based narratives with additional, multiple elements. Chang received his bachelor's degree from Soochow University in 1984, and his master's from Indiana University in 1990. He began a professional career as a photojournalist in 1991, and has worked for both the Seattle Times and the Baltimore Sun. He joined the world famous photographic cooperative Magnum Photos in 1995 and became a full member in 2001. Selected Exhibitions 2018 Azma and Burma: The Promise Betrayed, Chi-Wen Gallery, Taipei,Taiwan. The War That Never Was, TheCube Space Project, Taipei, Taiwan. 2015 Burma: Inside the Land of Shadows, Chi-Wen Gallery, Taipei, Taiwan. 2014 Film Screening, Chi-Wen Gallery, Taipei,Taiwan. HOME: Chien-Chi Chang and Chen Chieh-jen, Sherman Contemporary Art Foundation, Sydney, Australia 2012 Burmese Days, Chi-Wen Gallery, Taipei, Taiwan. Escape from North Korea, The Cube Project Space, Taipei., Taiwan International Center of Photography, New York City, USA. 2011 Museum of Cultures / Museum der Kulturen, Basel, Switzerland. 2009 National Taiwan Museum of Fine Arts, Taichung, Taiwan Venice Biennial, Venice, Italy. 2008 National Museum of Singapore, Singapore. 2006 Columbus Museum of Art, Columbus, Ohio, USA. 2004 Fotogallery, Cardiff, UK. Southeast Museum of Photography, Daytona Beach, Florida, USA. 2002 The Chain, São Paulo Biennial, São Paulo, Brazil. 2001 Venice Biennale, Venice, Italy. Taipei Fine Arts Museum, Taipei, Taiwan.

Selected Awards 2011 AnthropoGraphia Award for Human Rights (Escape from North Korea), Canada 2003 First Place, Best Photography Book (The Chain), Pictures of the Year Int’l, USA 1999 W. Eugene Smith Grant, W. Eugene Smith Memorial Fund for Humanistic Photography, New York, USA. 1998 First Place, Daily Life, World Press Photo, Amsterdam, Netherlands. Visa d’Or, Visa Pour L’image, Perpignan, France. Magazine Photographer of the Year, NPPA, USA. Yuan Goang-Ming (袁廣鳴︎︎︎ )

Yuan Goang-Ming (b.1965) currently lives and works in Taipei, Taiwan.

Yuan Goang-Ming is a pioneer of video art in Taiwan. Since working with video in 1984, he has received a master’s degree in media art from the Academy of Design, Karlsruhe (1997). He is now one of the foremost Taiwanese artists active in the international media art circle. He currently holds a post as assistant professor and chair of the new media art department of the Taipei National University of Arts.

Combining symbolic metaphors with technological media, his work expresses the state of contemporary existence, and explores the human mind and consciousness. In 1988 while he was still in art school, he received the 13th Hsiung-Shih Art Award for the Best New Artist for his video and sculptural work Out of Position (1987). In 1992, his work Fish on a Dish garnered great acclaim in Taiwanese art circles, and received the First Prize of the Taipei County Arts Award, while The Reason for Insomnia (1998) received the Jury Prize of the 1st Digital Art Festival. His City Disqualified (2002) holds an important place in the history of Taiwanese contemporary media art.

Disappearing Landscape (2007) opens with a new format of moving images, combining video art and cinema, displaying the fascinating, theatrical everyday in three-channel video installations. The 2011 exhibition Before Memory continues his exploration of the idea of “home” and expands such exploration into ruins and nature, in a diverse array of large-scale installations about time and memory, the body and perception. His 2014 solo exhibition An Uncanny Tomorrow questions the environment we inhabit in a globalized context, pondering the anxieties and apprehensions of modern people. This exhibition received the Exhibition of the Year of the 13th Taishin Arts Award.

Yuan has participated in various exhibitions across Asia, Europe, and America. Among these include: the Taiwan Pavilion at the 50th Venice Biennale, Italy (2003); Hayward Gallery, London, UK (2018); South Bank Centre, London, UK (2018); “The 20th Ji.hlava International Documentary Film Festival, Transparent Country: Taiwan”, Jihlava, Czech Republic (2017); Daegu Art Museum, Daegu, Korea (2017); NTT InterCommunication Center, Tokyo, Japan (2017); The 55th Ann Arbor Film Festival, Michigan Theatre; Ann Arbor Art Centre, Michigan, USA (2017); 4A Centre for Contemporary Asian Art, Sydney, Australia (2017); Arko Art Center, Seoul, Korea (2016); QAGOMA, Queensland, Australia (2016); Biennale de Lyon: La Vie Moderne, France (2015); “Mobile M+: Moving Image, Midtown POP”, Hong Kong (2015); Fukuoka Asian Art Triennale, Japan (2014); the 7th Asia Pacific Triennial of Contemporary Art, Australia (2012); Singapore Biennale (2008); Liverpool Biennial, U.K. (2004); Auckland Triennial, New Zealand (2004); the 2nd Seoul International Media Art Biennale, Korea (2002); 010101: Art in Technological Times at the San Francisco Museum of Modern Art (2001); ICC Biennial, Japan (1997), and Taipei Biennial (1998, 1996, 1992).

His work is housed in public and private collections of art museums and institutions domestic and abroad. He has also been on the Collections Committee of the Taipei Fine Arts Museum, and a juror of the Taipei Arts Award, Taipei County Arts Award, Public Art, Venice Biennale (Taiwan Pavilion), and Asia Society Arts Award in the United States.

Education 1997 Diploma in Media Arts, Staatliche Hochschule für Gestaltung, Karlsruhe, Germany. 1994 Institute for New Media, Frankfurt am Main, Germany. 1993 DAAD Germany Exchange Scholarship. 1989 BFA, National Institute of the Arts, Taipei, Taiwan.

Selected Solo Exhibitions 2018 Tomorrowland, Hayward Gallery, London, UK . 2015 Dwelling, Yuan Goang-Ming Solo Exhibition, Hanart, Hong Kong . 2014 Scanning Memories,Yuan Goang-Ming's Video Art 1992-2014, Artium Gallery, Fukuoka, Japan. Selected Group Exhibitions 2019 Aichi Triennale 2019, Nagoya, Japan. SYNCHRONICITY: Daisuke Miyatsu Collection x Kasama Nichido Museum of Art, Japan. Blending the quintessence of modern and contemporary art, Kasama Nichido Museum of Art, Ibaraki, Japan. 2018 Paradise in Your Heart,Gwangju Museum of Art, Gwangju, Korea. Beyond Bliss: Bangkok Art Biennale, Bangkok, Thailand. Birth of a Nation: Focus on Taiwan, DokuFest, Prizren, Republic of Kosovo. Art Night, Hayward Gallery, London, UK (Not) Just a Historical Document: Hong Kong-Taiwan Video Art 1980-1990s, TIDF; MOCA, Taipei, Taiwan. 2050 A Brief History of Future, National Taiwan Museum of Fine Arts, Taichung, Taiwan Customized Reality: the Lure and Enchantment of Digital Art, National Taiwan Museum of Fine Arts, Taichung, Taiwan. 2017 Kaiko no Umi - A reunion with the Sea: Realism of Asian Modern Thought, Okinawa. Prefectural Museum & Art Museum, Okinawa, Japan. Urban Nomadism: 2017 Hangzhou Liangzhu Big Roof International Moving Image Exhibition, Liangzhu Culture and Art Center, Hangzhou, China. The 20th Jihlava International Documentary Film Festival, Transparent Country: Taiwan, Jihlava, Czech Republic. Ghost, Daegu Art Museum, Daegu, Korea. Before the Rain, 4A Centre for Contemporary Asian Art, Sydney, Australia. 2016 Memories through Cycle ― Images by RongRong & Inri and Yuan Goang-Ming, Art Tower Mito, Ibaraki, Japan. Touring exhibition: Screen Test: Chinese Video Art Since 1980s, CAFA Art Museum, Bejing, China; Redtory Museum of Contemporary Art, Guangzhou, China. Dress Up at Home: Yuan Going-Ming, Peng Hung-Chih and Tsui Kuang-Yu, Chi-Wen Gallery, Taipei, Taiwan 2015 Biennale de Lyon: La Vie Moderne, Lyon, France. Asia Contemporary Art Exhibition 2015, Jeonbuk Museum of Art, Jeonbuk , Korea. REWIND_ Video Art in Taiwan 1983-1999, Kuandu Museum of Fine Art, Taipei, Taiwan. Mobile M+: Moving Images, Midtown POP, Hong Kong, China Fukuoka Asian Art Triennale, Fukuoka, Japan. We Love Video This Summer, Pace Beijing, Beijing, China. The Pioneers of Taiwanese Artists, 1961-1970, National Taiwan Museum of Fine Arts, Taichung, Taiwan. 2013 Rolling! Visual Art in Taiwan, Seoul Museum of Art, Seoul, Korea. Intersecting Vectors ― Experimental Projects from the TFAM Collection, Taipei Fine Arts Museum, Taipei, Taiwan. 2012 The 7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery Of Modern Art, (QAGOMA), Queensland, Australia. Metropolitan Museum of Photography, Tokyo, Japan. 2011 Moving Image in China: 1988-2011, Minsheng Art Museum, Shanghai, China. 2010 Cinema Alley 2011, 4A Centre for Contemporary Asian Art, Sydney, Australia. 2008 IN BETWEEN, Asian Video Art Weekend, Mori Art Museum, Tokyo, Japan. 2008 Our Future: The Guy & Myriam Ullens Foundation Collection, Ullens Center for Contemporary Art, Beijing, China. Singapore Biennale 2008: Wonder, Singapore. Victoria Sin

Victoria Sin (b. 1991) currently lives and works in London, UK.

Background

The Royal College of Art, MA Print Camberwell College of Arts, University of the Arts London, BA Drawing

Exhibitions/Screenings/Performances 2019 Meetings on Art, The 58th Vernice Biennale, Venice, Italy, IT Rising up in the infinite sky, Sophia Al-Maria: BCE, Whitechapel Gallery, London, UK Do Disturb, Palais de Tokyo, Paris PLANTSEX, General Ecology, Serpentine Galleries, London If I had the words to tell you we wouldn't be here now, Chi-Wen Gallery, Taipei, TW 2018 Bona Drag, RISD Museum, Providence, RI, US Narrative Reflections on Looking, Sotheby's S2, London, UK Riding and Dying with You, Whitechapel Gallery, London, UK DRAG, Hayward Gallery, London, UK Park Nights, Serpentine Galleries, London, UK Reproductive Technologies, Market Gallery, Glasgow, UK Swinging Out Over the Earth, Whitechapel Gallery, London, UK Indifferent Idols (solo), Taipei Contemporary Art Centre, Taipei, TW Block Universe, Brunel Museum, London, UK Cinenova Now Showing, LUX, London, UK JUICEBOX, Live Art Bistro, Leeds, UK A View From Elsewhere, Café Oto, London, UK Non-Linear: Magnet 2 with LUX Scotland, CCA Cinema, Glasgow, UK Steakhouse Live Festival, Toynbee Studios, London, UK A History of Drawing, Camberwell Space, London, UK Transcending species Transcending gender Transcending nations, Deptford Cinema, London, UK We Share the Same Tears, Whitechapel Gallery, London, UK Décalé, DIY Space for London, London, UK 2017 YCT Prize Exhibition, The Cello Factory, London, UK Hybrid Layers, ZKM, Karlsruhe, DE Glitch Feminism, ICA, London, UK Tenderflix 2017, The Royal College of Art Gorvy Theatre, London, UK Mount Florida Screenings 10, GoMA, Glasgow, UK BFI London Film Festival: HOPING. FEARING. DREAMING., BFI Southbank, London, UK NSA: A Queer Salon (Steakhouse Live), Sutton House, London, UK You see me like a UFO, The Grange, Ascot, UK Non Linear: Magnets, CLOSE-UP, London, UK TATE EXCHANGE: GENDER TALKS, Tate Modern, UK Volcano Extravaganza, I Polpi, Stromboli, IT DEEP ANGER TRUE LOVE TENDER CARE, The Horse Hospital, London, UK Multiplied, Kingsgate Project Space, London, UK SHOW RCA 2017, The Royal College of Art, London, UK Rogue Agents, Firstdraft, Sydney, AU Dream Babes Speculative Futures, The Horse Hospital, London, UK Hotline, New River Studios, London, UK ON & OFF, Proyectos Medellin Gallery, Mexico City, MX The Conch, South London Gallery, London, UK Cacotopia, Annka Kultys Gallery, London, UK Freshly Squeezed, CGP, London, UK 2016 Edinburgh Artists' Moving Image Festival, Talbot Rice Gallery, Edinburgh, UK Clearview Presents, Clearview, London, UK Sham Romance, Chalton Gallery, London, UK Steakhouse Live Festival, The Yard Theatre, London, UK Dream Babes, Auto Italia, London, UK Will Nature Make a Man of Me Yet?, Pi Artworks, London, UK Break/Link, CGP London, London, UK Chewy, The Royal College of Art Dyson Gallery, London, UK The Ingram Collection, Bodies!, The Lightbox, Woking, UK

Awards 2018 Arts Council England Artists International Development Fund 2017 The Ingram Collection Young Contemporary Talent Purchase Prize Arts Council England Grants for the Arts 2016 Arts Council England Grants for the Arts

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