Hi, my name is Virginie Tan and I'm an artist and designer.

About

Instagram

✨✨✨✨✨✨About me✨✨✨✨✨✨
Emotional Interfaces' online exhibition
Oy there 👀 My name is Virginie Tan and I'm an artist and designer based in London 💫 Here is my portfolio solely showcasing my art works.
If you are looking for my design portfolio or if you have any other queries, please contact me at oy[at]virginietan.com
You can also find me on LinkedIn.

Residencies

2019, EUCIDA at RUA RED (Dublin, Ireland)

Curation

2020, Emotional Interfaces x UNCERTAINTY-19 at EP7 (Paris)
2020, Emotional Interfaces / The Wrong Biennale / Closing Party at La Machine du Moulin Rouge (Paris)
2019, Emotional Interfaces for The Wrong Biennale (Online)

Shows

2018, AKT (Kyiv, Ukraine)
2017, Alter_Action (IDC 16_17 Grad Show) at UAL - London College of Communication (London)
2017, The Wrong Biennale at Homeostasis Lab (Online)
2017, Ars Electronica Festival at Post-City (Linz)
2017, Digital Making Art School at Tate Modern (London)
2016, ICART Media Festival at ICART (Paris)
2015, Transient Festival at Espace Pierre Cardin (Paris)
2014, Avant Première at HEAR (Strasbourg)

Awards

2018, Emerging Talents Program at Atelier Clerici (Milan)
2016, Scholarship by Fondation Kenza / Institut de France (Paris)

Education

2017, MA Interaction Design Communication at UAL – London College of Communication
2016, MA Research in Visual Arts at University Paris 1 Panthéon-Sorbonne
2014, BA Graphic Communication at HEAR – Arts Décoratifs of Strasbourg

© 2021 Virginie Tan. This website uses W3.CSS, Animate.css, Spheres.

Curation

Emotional Interfaces 2019-2020
Online/offline exhibitions
Emotional Interfaces' online exhibition
Since 2019, I'm co-curating Emotional Interfaces. This project have first been part of the Wrong Biennale 2019-2020. The online exhibition is still available here. We also organized the closing party at La Machine du Moulin Rouge / Bar à Bulles in Paris, France.
Picture of Emotional Interfaces' offline exhibition
Since then, Emotional Interfaces fully became an explorative and curatorial space in which we discuss the following — how digital interfaces have been shaping emotional behaviours? We invite artists and designers to reflect on the theme, organizing online and offline exhibitions, as well as hosting Instagram residencies.
Picture of Emotional Interfaces' offline exhibition
Thanks to my friend and collaborator Astrid Lours-Riou, and all the artists who were involved until now: Pipe Amatayakul, Harmonie Aupetit, Sandra Araújo, Emma Cozzani, Kyo Kim, Francis Kussatz, Stefanie Luchtenberg, Daniel Pinheiro, Quinn Scargill, Vincent Tanguy, Mathieu Tremblin, Roman Trilo, Adam Tuch, Charlie Tweed, Filipe Vilas-Boas, Betty Zhang

Sublimes Gestures

×
Hold on to refresh 2019
Interactive installation
This is a gestural research in progress, aiming to transform the pull-to-refresh gesture into a meaningful and critical experience. This research started during the residency I undertook at RUA RED, part of the EUCIDA program.
I’m prototyping towards a sensory-based interactive installation, in which the audience can create a unique time-space filled with sounds, mist and lights – inspired by the wheel loading icon. My aim is for the audience to learn how to take advantage of this loading time away from constant notifications, by refreshing physical mechanisms as they would refresh their own social media feeds.

How to - surf with a mouse 2017
Interactive installation
Picture of HOW TO - SURF WITH A MOUSE's installation
HOW TO - SURF WITH A MOUSE was first presented at the LCC Graduate Show, and is part of my final year thesis titled "The Cyberflâneur — A Reflexion On Web Surfing". The work here aims to reveal the uncertainty behind web surfing by materialising the mechanical mouse’s actions into tangible objects, through an interactive installation using bits of Arduino, MAX/MSP and web programming.
These exaggerated objects covered in black to symbolise the desire we seek in the glossy screen, while drawing the ambiguity between their anti-affordance and the context they are being re-used for. The physicality they add contrasts with the flatness of the screen and its gestural limitations. We have to physically scroll, click, and move around these over-sized components.
But, the question is – do we still actually (web-)surf? The genuine exploratory use of the Internet has been overshadowed by the never-ending feed and its algorithmic takeover. This project aims to layout the absurdity yet still exploratory aspect of digital culture, and its relationship with the addictiveness yet physicality of the gestures used.

Do it right, do it slow 2017
Interactive installation
Picture of DO IT RIGHT, DO IT SLOW's installation
This project has first been produced during my MA IDC year through a neo-tribe research around the Slow Movement. You can find the entire making journey on my blog. It has then been exhibited at Ars Electronica Festival 2017. The installation uses of bits of Arduino and MAX/MSP.
Striving against the rise of the high-speed society, the Slow Movement's motto isn’t about doing everything at a snail’s pace, but doing everything as the right speed. The aim of DO IT RIGHT, DO IT SLOW is to make the audience understand that motto through a meditative musical experience.
Still, what is the point of bringing technology to an experience doable without such means? I would say to reflect: I’m re-thinking the scroll gesture, daily used to navigate through the endless feeds of social medias. Instead of that digital output, here is an invitation to learn how to slow down by scrolling down at the right speed, and board into an intimate musical journey.

Misc.

You have to face me 2016
Interactive installation
Picture of YOU HAVE TO FACE ME's installation
I first produced YOU HAVE TO FACE ME for the ICART Media Festival – now named Les Chambres Numériques. The installation is made of 23 computers where a program is running using Processing and SuperCollider.
Picture of YOU HAVE TO FACE ME's installation
The interactive protocol is simple: the spectator have to face the computer to listen to its speaking. If he/she looked away, the monologue immediately stops. Every computer has its own sentence to speak – you can hear some of them here. These voices have a recognizable computer-ish tone, yet they contrast with an hint of realism. It was a way to personify the computers, almost as if they could finally voice their thoughts.
Picture of YOU HAVE TO FACE ME's installation
This artwork marks the era we are in today: A.I is growing tremendously, but still shows its limits. The contrast heard is a way to portray those limits, with the computer’s voices almost sounding like they are struggling to speak in a normal way, and truly gain their supposed autonomy. My aim was to create an immersive yet soothing experience, where the spectator had to take his/her time to engage with the unknown.

From 1 to 10 seconds 2015
Videos
Picture of FROM 1 TO T0 SECONDS' installation
FROM 1 TO 10 SECONDS is a series of videos first exhibited at Transient Festival in 2015, then at the Wrong Biennale in 2017. During the first event, both artworks popped up like spams among the others videos for 10 short seconds every moment or so. By that particular display, I wanted the spectator to grasp its ephemeral nature.
The glitches were the result of a defective smartphone and the app Snapchat − hence the title is a direct reference to the limited time of its content. The images I took with the app − landscapes such as the forest, the river and the sea, became the testament of the ephemeral nature of digital memory.

Collabs

curious matter :: act I — openness 2018
Interactive installation
Picture of CURIOUS MATTER' installation
In the context of Curious Matter’s temporary art collective project, I was in charge of producing motion videos for an interactive installation using bits of Arduino and web programming. You can find more informations here.
Collaborators:
Roman Trilo (UA) — Creative Direction
Kien Fam Chung (UA/VN) — Conception, Management
Virginie Tan (FR) — Conception, Motion Design
Oleksii Kryvoruchko (UA) — Sound Design, Assistance
Yaroslav Stasyuk (UA) — Programming
Eugene Mikitka (UA) — Video Production
Dmytro Kyrylovets (UA) — Video Production

Space Intimacy 2017
Installation
SPACE INTIMACY is an interactive installation produced within the Digital Maker Collective, and was part of the Digital Making Art School for Tate Exchange. The installation was openly displayed – using a heart rate and GSR sensors sending datas to a MAX/MSP patch, both feedbacking to a dome mapping projection. You can see the full WIP there.
We started this project from one concept: that is of the borders. Despite the fact that the Internet has challenged the significance of borders, it doesn't mean that we are being automatically more open-minded although we are more connected – wouldn't that be because of our own personal borders? SPACE INTIMACY wants to challenge the notion of these personal borders, via a peer-to-peer installation.
The spectator A enters a dome filled of visuals from the data of the spectator B, litteraly witnessing his/her intimacy. By tweaking that contrast and transforming it into an intimate experience using body sensors – each sensor affected the visuals in different ways; this is also an open invitation to use datas differently to craft meaningful experiences.
Collaborators:
Pipe Amatayakul
Maureen Eibeler
Virginie Tan
Betty Zhang
Assistance:
Adam Corrie (Staff)
Roman Trilo