2014 毕业于山东师范大学摄影系 获学士学位
2014 Bachelor of Arts (Photography), Shandong Normal University
2018 毕业于皇家墨尔本理工大学纯艺术系 获硕士学位
2018 Master of Fine Art, RMIT University
Wang Chen was born and grown in China, studied in Australia since 2015, and settled down in Melbourne. Wang Chen creates emotionally resonant artworks that extend beyond language or cultural barriers based on her multi-cultural background. In Chen's video works, she examines various methods of re-experiencing her internal emotion and memory and shares them in the exhibiting context. At the same time, Chen confirms the self-consciousness by observing herself from the perspective of a bystander while making artworks, thereby gaining the power of continued creating.
“人为刀俎”个人作品微型展览，Alternating Current Art Space，墨尔本 (12月开启)
热带实验室12：感觉, Brother Joseph McNally 展览馆，新加坡
We Are Fishes On The Chopping Block, Alternating Current Art Space, Melbourne Australia (upcoming)
Multifunction Polis Opening Night, Chinese Museum, Melbourne Australia
Graduation Show of School of Art, RMIT University, Melbourne Australia
Tropical Lab 12: Sense, Brother Joseph McNally Gallery, Singapore
作为皇家墨尔本理工大学澳洲地区校区代表，参加由新加坡拉萨尔大学主办的艺术驻留专案“Tropical Lab 12: Sense“，驻留时间为15天。
Dimensions Art Center, Chongqing China (upcoming)
Participating in the art residency Tropical Lab 12: Sense hold by Lasalle University in Singapore as the representative of the Melbourne campus, RMIT University.
获奖经历︱Honors and Awards
《鱼》、《我的弟弟》获Channels Festival 国际视频艺术双年展入围奖
“Fish”, “My Little Brother” - Channels Festival: International Biennial of Video Art - Finalist
关于本次创作计划︱About this Residency Plan
The Lost Flavor
In my work Acrophobia, I will utilize the unique mountainous geographical features of Chongqing and famed landscape in Chongqing: Yangtze River Cableway, connecting with my memory, recalling my father bringing me to take the ropeway in my hometown Jinan when I was a kid. I plan to take the moving images of taking Yangtze River Cableway, assisted with street views of old streets in Jiulongpo area in my video. This work is to exam how I became an adult having acrophobia, as well as the disappeared sense of security, and I realized the cruelty and loneliness of the essence of our life, as a child.
以往作品介绍︱Introduction to Previous Works
《独居动物》 Solitary Animal
2019, 2-channel Video, 02:09
The two-channel video Solitary Animal represents Wang Chen's life of “a solitary animal.” It shows Chen's daily life with few socializing via the mild film language and implies her lonely, yet prosperous inner world by poetic existed footages.
2019, HD Video, 02:39
Wang Chen's video work Fish is her first artwork after graduating from Mater of Fine Art. Chen aims to use her unique performance and stylized hue of imagery representing her hardship of being an artist in the “real world” at the present state of life, namely financial difficulty, wither of inspiration and having no autonomy at the workplace. The inspiration of Fish is from an ancient Chinese saying "being fishes on the chopping block (人为刀俎，我为鱼肉)," as well as the living fishes sold in plastic packages in Chinese fish market, for people who want to enjoy freshly making.
《我的弟弟》My Little Brother
In My Little Brother, Wang Chen simulated the "younger brother's" voice by her voice using software and shot the VHS style footage by an application on her smartphone. By exploring a narrative approach instead of judgment and criticism through combining the VHS style imagery and performance, Wang Chen represented the lonely growth of China’s millennial generation born in the 1990s under the One Child Policy, which has been abolished in the present context, also implicitly explores the irresistible individual destiny in specific political environments.
《都是假的》They All Fake
2018, HD Video, 03:07
Being different from the description of the Spring Festival in Chinese folk, Wang Chen showed her antipathy of the Spring Festival by mixing her exaggerated performance, uneasy red lighting and real media archive of Chinese Spring Festival Gala in her video, based on her own memory.
Wang Chen recalled her traumatic memory of the first conscious of adults' animality in her video Secret. In this video work, Chen represents three identities via performance and monologue: the storyteller, the receiver of the text message, and her traumatic inner self. She faces the camera as if facing a mirror, as well as facing up to the audience directly. By showing the three figures, Chen revealed the nature animality of human and the brutal reality under the surface of the beautiful life.