Victoria Sin is an artist using speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification. Sin uses drag as a practice of purposeful embodiment questioning the reification and ascription of ideal images within technologies of representation and systems of looking. 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’s performances and works were shown in international exhibitions and programmes, including “Age of You” (MOCA, Toronto, Canada, 2019); “La vie des chose”, MOMENTA biennale de l’image (Montreal, Canada, 2019); “Kiss My Genders” (Hayward Gallery, London, UK, 2019); “Meetings on Art”, the 58th Venice Biennale (Venice, Italy, 2019); “Rising up in the infinite sky”, Sophia Al-Maria: BCE (Whitechapel Gallery, London, UK, 2019); “Do Disturb” (Palais de Tokyo, Paris, France, 2019); “PLANTSEX, General Ecology” (Serpentine Galleries, London, UK, 2019); “DRAG” (Hayward Gallery, London, UK, 2018); “The sky as an image, an image as a net” (Serpentine Park Nights, London, UK, 2018); “Swinging Out Over the Earth” (Whitechapel Gallery, London, UK, 2018); “Indifferent Idols” (Taipei Contemporary Art Center, Taipei, 2018); “We Share the Same Tears” (Whitechapel Gallery, London, UK, 2018); “Glitch Feminism” (ICA, London, UK, 2017); “TATE EXCHANGE: GENDER TALKS” (Tate Modern, London, UK, 2017).
Sin currently lives and works in London.
Facial wipes / 2018 - 2019
Slippery, fatty and tender (2019) and She has let you see behind her screen (2018) are facial wipes used by the artist to remove their makeup after each drag performances. The facial wipes retain the unique traces of these painted face, and become at once documentary evidence, mnemonic device, and shamanic paraphernalia.
Tell me everything you saw, and what you think it means / 2018
Tell me everything you saw, and what you think it means (2018) shows a body that carries femininity seductively posturing in context, confined in a screen, lying atop luxurious satin, fur and smoky air. Almost motionless and object-like, the perfect façade of the body is forcibly called into question, as the voiceover relentlessly implores the viewer to look at her, and perhaps look behind her screen. On the other hand,
Illocutionary Utterances / 2018
Illocutionary Utterances (2018) focuses on the vocalization of words, the speech act. The close-up video features a set of lips that are enunciating and quivering, though their movement is not in-sync with the voiceover. The disjunction in the signification of meaning and words becomes a metonymy for the confusion of gender signifiers at large, ending with “I am not a woman.”
Fun Bag / 2015
Fun Bag (2015) presents four balloons stuffed in a plastic bag, resembling a curvy torso with bustling breasts. This alludes the use of prosthetic silicone breast plates by drag queens, and at large the age of bionic enhancement of the human body where body forms are no longer dictated by genetic and biological predisposition. The balloons slowly deflate throughout the exhibition, hinting at the sagging reality of human bodies in duration.