On the occasion of artist Sin Wai Kin’s first institutional solo exhibition in New York The End Time! at Canal Projects (January 31 – March 29, 2025), Sin was be joined by writer and editor Stephanie Bailey for a virtual conversation on April 18th at 10am EST, cohosted by Asia Art Archive in America and Canal Projects. The conversation reflected on the works and themes featured in the exhibition, and especially Sin’s latest and largest film project to date, The Time of Our Lives, which takes the format of a science fiction sitcom with a collapsed sense of time. Bailey and Sin explored ideas of speculative fiction, world-building, glitch theory, quantum entanglement, and alternative or subjective experiences of time.

The conversation was held on Zoom. For more information on the exhibition, please visit the Canal Projects website. 

Sin Wai Kin’s new video work The Times of Our Lives (2024) is initiated by Accelerator and co-produced with Kunsthall Trondheim, Canal Projects and Blindspot Gallery, and supported by Vince Guo.

Participant bios:

Sin Wai Kin (b. 1991, Toronto, CA) brings fantasy to life through storytelling in moving image, performance, writing, and print. Drawing on experiences of binary categories, their work realizes alternate worlds to describe lived experiences of desire, identification and consciousness. 

The artist is nominated for the 2024 Jarman award for their film works Dreaming the End (2023) and The Breaking Story (2022). They were the recipient of the 24th Baloise Art Prize at Art Basel 2023 for their film series Portraits (2023). Their film, A Dream of Wholeness in Parts (2021) was nominated for the 2022 Turner Prize, and included in the touring exhibition the British Art Show 9, as well as being screened at the British Film Institute’s 65th London Film Festival. Recent solo exhibitions include The End Time! at Canal Projects, New York (2025); The Time of Our Lives at Blindspot Gallery, Hong Kong (2025); Man’s World at Kunsthall Trondheim, Tronheim (2024); The Time of Our Lives at Accelerator, Stockholm (2024); MUDAM, Luxembourg (2024); Buffalo AKG Art Museum, New York (2024); Berkeley Art Museum & Pacific Film Archive, Berkeley (2023); Dreaming the End at Fondazione Memmo, Rome (2023); A Dream of Wholeness in Parts at Soft Opening, London (2022); It’s Always You at Blindspot Gallery, Hong Kong (2021) 

Group exhibitions include The Hong Kong Jockey Club Series: Picasso for Asia—A Conversation at M+ Museum, Hong Kong (2025); Lahore Biennale 03, Lahore (2024); Greater Toronto Art (GTA24) at The Museum of Contemporary Art, Toronto; CUTE at Somerset House, London (2024); After Laughter Comes Tears at Mudam, Luxembourg (2023); Turner Prize 2022, Tate Liverpool, (2022); MYTH MAKERS — SPECTROSYNTHESIS III, Taikwun, Hong Kong (2022); Drawing Attention at The British Museum, London (2022). Sin’s work is held in the collections of Vancouver Art Gallery; Tate Collection, UK; The British Museum Prints & Drawings; White Rabbit Gallery, Sydney; Ferens Art Gallery, Hull; The Ingram Collection of Modern British Art, UK; Buffalo AKG Art Museum, Buffalo; Sunpride Foundation, Hong Kong and M+ Museum, Hong Kong.

Stephanie Bailey is an art writer, editor, educator, artist, and curator from Hong Kong. An ART PAPERS contributing editor and regular contributor to Art Review, e-flux Criticism, and Yishu Journal of Contemporary Chinese Art, among others, she served as the first Conversations Curator and Curatorial and Content Strategist for Art Basel Hong Kong, from 2014-2025; Editor, Asia, Art Basel, from 2021-2024; Managing Editor for Podium by M+ from 2018-2024; and Ocula Editor-in-Chief from 2017-2023. From 2012-2017, she was Senior Editor of Ibraaz, founded in 2011 by KLF, with whom she curated ‘What Can We Learn and Unlearn When We Speak Together?’ a symposium for JAOU 2022.

A PhD candidate in Birkbeck College’s Department of Law, Stephanie is exploring globalization’s histories and counter-histories through the interconnected prisms of the art-fair-biennial industrial complex and the post-war international order, and has participated in symposia organised by Athens Biennale, Asia Society, Duke University, India Art Fair, Iuav University of Venice, Paul Mellon Centre, Salzburg International Summer Academy of Fine Arts, and Tsinghua University, among others. Between 2009 and 2012, she designed and implemented the first BTEC-accredited Foundation Diploma in Art and Design in Greece for Doukas Education. More recently, she and Alice Wong co-curated Small Acts / New Flows, Para Site’s 2024 Alternative School / Workshops for Emerging Arts Professionals, in collaboration with Billy Tang, Celia Ho, Jessie Kwok, and Stefan Luk, alongside a symposium hosted by Hong Kong University with speakers including Sakiya and BOLOHO.

Canal Projects is a nonprofit contemporary arts organization dedicated to supporting forward-thinking local and international artists at pivotal moments in their careers. Through production, exhibition, research, and interpretation of this work, Canal Projects intends to foster artistic practices that challenge and reflect on the current moment. Canal Projects is generously supported by the YS Kim Foundation.

AAAinA’s general programming and operations are funded in part by the New York State Council on the Arts, the New York City Department of Cultural Affairs in Partnership with the City Council, the Vilcek Foundation, and other foundations and individuals.