ARTISTS
Tiffany Sia: Phantasmatic Screens
Tiffany Sia (1988, Hong Kong), winner of the Baloise Art Prize 2024, explores the material properties of film and their impact on the narratives and perception of space. In her film The Sojourn (2023), recently donated to the Mudam Collection, she travels to Taiwan to follow in the footsteps of martial arts film director King Hu (1931–97). As Sia argues in her book On and Off-Screen Imaginaries (2024), Hu in his iconic films ‘reconstructed his birthplace, Beijing, which he’d left as a child and could no longer return to, reflecting on an old world that resided in the recesses of memory’ and displaced in the misty mountain of Taiwan, the location of many of his films. In The Sojourn, Sia collects the impressions of Shih Chun (1935), the lead actor in Hu’s Dragon Inn (1967). Chun recalls how the fog affected the way the image was rendered against the backdrop of the Hehuanshan mountains in Dragon Inn. In Sia’s work, visual meditation is infused with subtle discrepancies: images are projected onto a distorting medium, evocative of the slippery experience of exilic memory.
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Tiffany Sia (1988, Hong Kong), winner of the Baloise Art Prize 2024, explores the material properties of film and their impact on the narratives and perception of space. In her film The Sojourn (2023), recently donated to the Mudam Collection, she travels to Taiwan to follow in the footsteps of martial arts film director King Hu (1931–97). As Sia argues in her book On and Off-Screen Imaginaries (2024), Hu in his iconic films ‘reconstructed his birthplace, Beijing, which he’d left as a child and could no longer return to, reflecting on an old world that resided in the recesses of memory’ and displaced in the misty mountain of Taiwan, the location of many of his films. In The Sojourn, Sia collects the impressions of Shih Chun (1935), the lead actor in Hu’s Dragon Inn (1967). Chun recalls how the fog affected the way the image was rendered against the backdrop of the Hehuanshan mountains in Dragon Inn. In Sia’s work, visual meditation is infused with subtle discrepancies: images are projected onto a distorting medium, evocative of the slippery experience of exilic memory.
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