Co-Lab Projects presents:
A Lecture by Victoria Shen
With an introduction by Hannah Spector, Assistant Professor of Practice of Time & Technology

Lecture:
Thursday, April 16th, 3-4pm
UT Art and Art History, Art 1.102, 2301 San Jacinto Blvd
This event is FREE and open to the public
Parking is available for a fee at the San Jacinto garage north of the Art Building
Sponsored by the University of Texas College of Fine Arts
Hosted by the University of Texas Art and Art History Department

Be sure to also join us for Victoria’s performance presented in partnership with Fusebox Festival:
Saturday, April 18th, doors at 8pm, performance at 9pm
Co-Lab Projects, 5419 Glissman Rd, Austin, TX 78702
Get sliding scale tickets

In this lecture, Victoria Shen (A.K.A. Evicshen) will share her experience as a sound artist, experimental music performer, and instrument-maker. Shen's sound practice is concerned with the spatiality/physicality of sound and its relationship to the human body. Her personal identity, her body, is the space her work utilizes to restructure sonic meaning. In her live performances, she proposes an exploration between meaning and non-meaning through the physical activation of noise tropes–the body as both subject and instrument.

“My practice treats sound as a material force; something that pushes, scrapes, resists, and accumulates, rather than an abstract signal. Raised by a Cambodian refugee mother whose life was shaped by displacement and improvisation, I approach making through resourcefulness and embodied problem-solving. Scarcity, friction, and adaptation are not only biographical conditions but compositional principles.

Originally trained in visual art and art history, I moved toward electroacoustic music and expanded turntablism while teaching myself circuit design and electronics. I build my own instruments, often attaching them directly to my body or designing them as prosthetic extensions, so that performance becomes a negotiation between flesh, gesture, and machine. My work explores tensions between control and chaos, virtuosity and collapse, intimacy and amplification. By foregrounding physical labor and instability, I challenge conventions of live musical consumption and destabilize assumptions about what constitutes an instrument.

My recent and ongoing development focuses on deepening the integration of body and technology, particularly through analog systems. I am interested in corporeal circuitry: magnetic fields interacting with skin, embedded electronics, ferric materials, and wearable or tattooed audio media that collapse distinctions between organism and device. Moving forward, I aim to expand this research into more immersive, site-responsive works and collaborative formats, creating systems where the body becomes both archive and transmitter; simultaneously vulnerable, conductive, and generative.”

Shen has performed solo across North America, Japan, China, Mexico, Australia/NZ, the UK, and Europe, as a member of the turntable trio with Mariam Rezaei and Maria Chavez, as a member of hip hop group 1 Above Minus Underground. Shen has also collaborated with Mix Master Mike of the Beastie Boys, Keiji Haino, the Kronos Quartet, Matmos, clipping, Acid Mothers Temple, and Mike Watt. Some notable venues in which she has performed include Boston City Hall, the Solomon R. Guggenheim Museum, ISSUE Project Room NY, DOMMUNE Tokyo, Petreon Sculpture Park Cyprus, MUNCH Museum Oslo, Art Gallery of NSW Sydney, and Museo d'Arte Orientale Turin. Shen has also been an artist in residence at Elektronmusikstudion EMS Stockholm SE, WORM Rotterdam NL, EMPAC Troy US, Yaddo Saratoga Springs US, Kurimanzutto New York US, The Royal Danish Academy Copenhagen DK, and AUDIUM San Francisco US, Bemis Center for Contemporary Arts Omaha US, and Headlands Center for the Arts Sausalito US, and Audio Foundation Auckland NZ.

Shen has taught at Center for Computer Research in Music and Acoustics Stanford, the Faculty of Arts and Sciences Harvard, and the School of Visual Arts NY. Shen is also a serving member of the Board of Directors for The Lab in San Francisco.

Special thank you to Hannah Spector, Jeff Williams, and Mike Smith for making this program possible.

A Performance by Victoria Shen
Inside Mark Flood’s exhibition Buddy Can You Spare a Meme
Presented in partnership with Fusebox Festival
Curated by JD DiFabbio

Saturday, April 18th, doors at 8pm, performance at 9pm
Co-Lab Projects, 5419 Glissman Rd
Get sliding scale tickets

Ancillary Events:

A Lecture by Victoria Shen
Thursday, April 16th, 3-4pm
UT Art and Art History, Art 1.102, 2301 San Jacinto Blvd
This event is FREE and open to the public

VIP/Members Meet & Greet with Victoria Shen
Thursday, April 16th, 8-10pm 
Become a Member to receive the location

Victoria Shen (A.K.A. Evicshen) is a sound artist, experimental music performer, and instrument-maker based in San Francisco. Shen's practice is concerned with the materiality of sound and its relationship to the human body through a lens of disruption and experimentation. She creates and manipulates custom-built sculptures and extensions specific to her body to challenge conventional methods of sound production and erode the boundaries between performer, tool, and audience.

Shen will perform in dialogue with a new exhibition by Houston-based artist Mark Flood, “Buddy Can You Spare a Meme” inside Co-Lab's Culvert Gallery. Together, Flood and Shen operate on the same adversarial frequency. Both artists weaponize humor and chaos against established systems—he through visual mockery, she through sonic assault. Where Flood asks you to laugh at the art world's absurdities, Shen makes you feel the discomfort of sound pushed past its breaking point. Neither artist offers you comfort or easy answers. They offer you a mirror, amplified and distorted, reflecting back the ridiculous machinery of contemporary culture at volumes impossible to ignore.

Shen uses what she calls "chaotic sound" to oppose signal and information, eluding traditionally embedded meaning. Eschewing conventions in harmony and rhythm in favor of extreme textures and gestural tones, her work resists passive consumption. Instead, the body as both subject and instrument, using movement and tactility to provoke visceral, often confrontational encounters with sound. Her performances are deliberately physical, unpredictable, and ephemeral—rejecting polish in favor of raw immediacy.

In her live performances, she proposes an exploration between meaning and non-meaning through the physical activation of noise tropes.  Her music features analog modular synthesizers, vinyl/resin records, and self-built electronics. For recent performances, she pioneered the use of Needle Nails, acrylic nails with embedded turntable styluses, which allow her to play up to five tracks of a record at once. Needle Nails, Levitating speaker, and her Noise Combs are some of the objects created by her as part of an extensive repertoire of innovations in the design of sound augmentation. These sculptural elements invite the viewer to unpack one’s relationship with the material possibilities for creating sound. The appendage-like instruments and objects she makes, exemplify Shen’s ability to embody through sound her interest in the tension created by opposition: control and chaos, the unique and the mass produced, the practical and the absurd.

Shen has performed solo across North America, Japan, China, Mexico, Australia/NZ, the UK, and Europe, as a member of the turntable trio with Mariam Rezaei and Maria Chavez, as a member of hip hop group 1 Above Minus Underground. Shen has also collaborated with Mix Master Mike of the Beastie Boys and groups such as the Kronos Quartet, Matmos, clipping, Acid Mothers Temple, and Mike Watt and the Missing Men. Some notable venues in which she has performed include Boston City Hall, the Solomon R. Guggenheim Museum, ISSUE Project Room NY, DOMMUNE Tokyo, Petreon Sculpture Park Cyprus, MUNCH Museum Oslo, Art Gallery of NSW Sydney, and Museo d'Arte Orientale Turin. Shen has also been an artist in residence at Elektronmusikstudion EMS Stockholm SE, WORM Rotterdam NL, Kurimanzutto New York US, The Royal Danish Academy Copenhagen DK, and AUDIUM San Francisco US, Bemis Center for Contemporary Arts Omaha US, and Headlands Center for the Arts US, and Audio Foundation Auckland NZ.

Shen currently works at the Center for Computer Research in Music and Acoustics Stanford and School of Visual Arts NY. Shen is also a serving member of the Board of Directors for The Lab in San Francisco.

I WANT TO KNOW WHAT YOU DID LAST SUMMER IV
An open call for new artists

Open call dates: February 1st - April 20th, 2026
Application Deadline: Midnight, April 20th, 2026
Application review and notification: Early May, 2026
Exhibition dates: Late June - Late July, 2026 (exact dates TBA)

Co-Lab Projects invites all Austin area artists who have NOT physically exhibited with Co-Lab in the past to apply for this open call exhibition. The application is open to individual artists, curators, collectives, or other groups who fit this description.

Submitted/proposed works may be in any medium including but not limited to: installation, video/film, performance, 2D and 3D static works, social practice, etc. Please consider the installation logistics and limitations of the culvert gallery, for example the space is not temperature or humidity controlled which means it is not necessarily an ideal environment for works on paper or photography. If you have specific concerns we’re happy to answer any questions before you submit.

Artworks do not have to be from any specific time frame. The open call title is tongue in cheek, however we do encourage applying with semi-recent work and/or new proposed work.

Works will be reviewed and selected by a Curatorial Committee and the format of the exhibition will be determined by these selections. For example we may decide to pair two artists who submitted separately, or build a multiple artist exhibition from several applicants, or a large group exhibition may take shape. The format will depend largely on what we receive from applicants. However, the last three years of this application/program have produced group exhibitions and will be the most likely outcome of this year's open call. Apply accordingly.

Please fill out the form here to apply. What are you waiting for huh?!