Victoria Stanton and the Art of Transaction

About Victoria Stanton

Process Philosophy

Victoria Stanton (Montreal, Canada) is an interdisciplinary artist working with live action, human interaction, video, film, photo, drawing, and writing. Continually exploring within such diverse media, while the outward results of her practice may manifest in a multiplicity of forms, performance is the unifying central focus and invariable core of her research. Stanton’s time-based work includes performance for stage, performance for the camera, actions in public spaces, and one-on-one encounters in intimate contexts. Whether participatory, durational, task-based or audio-visual, her work is an investigation into the ability (and the desire) to hold a space, to appropriate and disrupt the quotidian, to create spontaneous intimacy, to tread vulnerability. Investing a performative presence and consciousness within multiple spaces / times, she continuously underscores the complex aspects of “transaction” and the possibility for transformation.

Much recent work explores the elusive “in-between” – that invisible, liminal space between herself and the audience (whether a group or just one person) or between herself and the object / action / location – whether appearing “on stage” (in a black box, white cube, bar or loft) or “out in the world” (in public sites and “non-art” contexts). Difficult to pin down or define, but present and tangible, it is that grey area – where transitions, negotiations and deliberations occur, where one’s sense of certainty and stable self are called into question – that she finds the most rich with potential and possibility. The “in-between” is her inquiry into transitional space: as manifested on stage (has the performance ended? Did she mean to make that incredibly cringe-worthy mistake?), as presented through relational exchange (is this a performance? Is this Art? Are we supposed to get this close?), and as experienced out in the world through geopoetic meandering, and the conscious inhabiting of non-places found in the built environment.  These subtle forms of testing the limits of vulnerability make up her overall practice (and multiple research processes) as an artist working in – and with – space and time.  


Stanton has presented exhibitions, performances, interventions, and films/videos in Canada, the U.S., Europe, the U.K., Australia, Japan and Mexico. Her creative and critical writings have been published in Canadian and American anthologies and art/literary/lifestyle magazines, with one of her articles garnering a finalist position for the prix de la SODEP in 2013.

Upcoming and past solo exhibitions include: The City of Saint John Art Gallery (Saint John, NB), 3e impérial (Granby, QC), PAVED Arts (Saskatoon), Tenderpixel Gallery (London, UK), and Galerie Corrid'Art Sylviane Poirier (Montreal). Performances and interventions include: LIVE: Biennial of Performance Art (Vancouver), The Works Art & Design Festival and Visualeyez (Edmonton), Art Toronto, Toronto Free Gallery, Performance Studies International #16 - Performing Publics, and 7a*11d Festival (Toronto), InterAzione (Sardinia), Vollevox (Brussels), Festival Infr'Action (Sète), Le Préavis de désordre Urbain (Marseille), Overload Festival (Melbourne), the Leeds Met Gallery (Leeds), Performer Stammtisch (Berlin), Gallery Para Globe (Tokyo), Open Source Gallery (Brooklyn), VIVA! Art Action, HTMlles Festival, OFFTA Festival, Art Qui Fait Boum! Triennial of Emerging Artists, Festival Voix d'Amériques, Festival International Montréal en Arts (FIMA), Edgy Women Festival, and a captivating appearance on the nationally broadcast television show Des Kiwis et des hommes (Montreal). Video screenings include: Les Rendez-Vous du cinema québecois (2009 and 2014), Le Festival international du film sur l'Art (2010 and 2012), Vidéos de femmes dans le parc (2009 and 2011), the Montreal Anarchist Bookfair (Montreal), Traverse Vidéo festival (Toulouse), the Chicago Anarchist Film Festival (Chicago), the 3rd Annual Vancouver Videopoem Festival and Visible Verse 2008 (Vancouver), the Bild-rausch video festival (Saarbrücken, Germany), Video and New Media Festival (Lisbon), the internationally touring Upgrade! P2P Outdoor Art Videos and the nationally touring J’ACTE, a program of performance-video curated by Eugénie Cliche (2012). Upcoming and past residencies include: Salem Art Works (Salem, NY), Praxis art actuel (Ste-Thérèse. QC), Third Space Gallery (Saint John, NB), FRONDA (Real del Monte, Mexico), 3e impérial (Granby, QC), Centre DAÏMÕN (Gatineau, QC), Centre Vaste et Vague (Carleton-sur-Mer, QC), Centre Sagamie (Alma, QC), and Artexte (Montreal). Publications include: Inter, On Site, Matrix Magazine, Ascent Magazine, Canadian Theatre Review, Esse Magazine, Revue ETC, The Portable Conundrum, Career Suicide (the Moosehead Anthology series) and Short Fuse, the international anthology of fusion poetry. Text-sound-song pieces have been broadcast on national radio and featured on a variety of compilations: The Lemon Tape (Montreal), All Points In (Ottawa), Vollevox (Brussels), Going Down Swinging (Melbourne), and Ribsauce (Montreal). Her first book, Impure, Reinventing the Word - an examination of the practice of spoken word - was published by conundrum press in October 2001 (co-authored with Vincent Tinguely).

Stanton is currently working on her second book, this time with the TouVA collective (comprised of Anne Bérubé, Sylvie Tourangeau and Stanton), a critical work developing salient notions on how performance is practiced and on the question of ‘the performative.’

For booking, images or research purposes please contact Victoria Stanton.