Exclusive interview about the upcoming feature film project Trans Love in
Variety variety.com/2024/film/global/trans-memoria-trans-love-victoria-verseau-1236057317/

Review of Trans Memoria in The Hollywood Reporter

Review of Trans Memoria in Cineuropa

24.05.29 Screen Daily Outplay boards Victoria Verseau’s Karlovy Vary documentary Trans Memoria (exclusive)

“Diego Carazo-Migerel Fougères, head of international sales and acquisitions at Outplay Films said: “We are extremely proud to work on such a powerful documentary that shines an important spotlight on trans women, gender-affirming surgery, social construction and deconstruction, as well as crucial topics like death, love, and self-esteem. All of this is enveloped in beauty, poetry, and passion.”

24.05.28 Victoria’s debut feature film Trans Memoria is selected to The Proxima Competition and will have its world premiere at The Karlovy Vary International Film Festival.

24.05.28 Variety writes about the selected films in The Proxima Competition at The Karlovy Vary International Film Festival 2024.

24.05.28 Deadline
writes about the selected films in The Proxima Competition at The Karlovy Vary International Film Festival 2024.

Nordic filmmakers Victoria Verseau and Virpi Suutari grab awards at Cannes Docs - 2023

Review of ‘Engender my past’ at Uppsala Art Museum KUNSTKRITIKK - 2021

“...In my imagination, these changes in scale and meaning become signs of a damaged but still living futurism. Which is reasonable as Verseau must be seen as a pioneer. I wonder if something like this has actually been shown in a Swedish art museum ever before?” - Frans Josef Petersson / Kunstkritikk

‘Hope is a dangerous thing for women like us’ is one of the most memorable exhibitions of 2022 according to Kunstkritikks editor-in-chief Mariann Enge

“Centrally placed on a grey-blue podium are pedantic organizing groups with what look like simplistic dildos. They are not sex toys, but dilators, which are used to prevent the constructed vagina to heal up after gender confirmation surgery. Associated with pain, not pleasure. At the same time, these phallic objects can also symbolize the desire for a partner. There is a lot of suffering and sadness in Victoria Verseau's exhibition, which is supposed to resemble a mausoleum. Every little remnant tied to the transition process is presented, ranging from empty pill trays to used make-up pads and queue slips, mixed with sculptural elements. But we never get to see the woman it's about. It all still got under my skin, thanks in large part to the intimate whispering voiceover in the video work and an almost unbearably beautiful song.” - Mariann Enge editor in chief Kunstkritikk

Review of ‘Hope is a dangerous thing for women like us’ at Fotogalleriet Oslo in Kunstavisen - 2022

“Trans perspectives are not part of the art canon - an established idiom has not yet been allowed to develop there. But with that great void in art history there is also untapped potential.
It's a rare experience to witness an exhibition with such a strong message rooted in reality, and a material language that helps to push the boundaries. For me, that's what art is really about." — Tiril Flom for Kunstavisen Norway on Victoria Verseau’s exhibition ’Hope Is A Dangerous Thing For Women Like Us’ 

Interview by White Chapel Gallery, London

Interview by Ashik Zaman for C-print journal

Interview by Hammer Museum, LA

Review of ‘Approaching a Ghost’ at Bonniers Konsthall 2021 by Swedish Radio / SR

Review of ‘Approaching a Ghost’ at Bonniers Konsthall 2021 by Dagens Nyheter / DN

Interview by Oslo Fotokunstskole 

Public Art Agency Sweden / Statens Konstråd Publication Coronasamlingen

Interview by Saskia Neuman in The Forumist

Review of ‘Engender my past’ at Uppsala Art Museum Uppsala Nya Tidning/ CORA  -2021

The Exhibition ‘All Flesh is Hay’ Featured in Daily-Lazy

Tobias Bradford & Ferdinand Evaldsson are Maria Bonnier Dahlin's Foundation's scholarship recipients in 2021 and are now exhibiting at Bonnier's Konsthall together with Victoria Verseau. These young artists will be exciting to follow, writes Bo Madestrand.

In addition to the scholarship recipients' exhibition, Bonniers Konsthall also show an international group exhibition with films by young artists. From Sweden, Victoria Verseau participates with a multimedia installation consisting of sculpture, film and artifacts.

The work is a tribute to a person that Verseau got to know when they were both undergoing gender-confirming operations in Thailand. But a few years ago, the friend chose to end her life, which Verseau processes in her highly personal and aesthetically refined art.

Together, these three young artists show a highly driven sense of art's means of expression in combination with deep personal experiences. It will be exciting to follow them in the future.

Tobias Bradford & Ferdinand Evaldsson är Maria Bonnier Dahlins Stiftelses stipendiater 2021 och ställer nu ut på Bonniers konsthall tillsammans med Victoria Verseau. Dessa unga konstnärer blir spännande att följa, skriver Bo Madestrand.

Vid sidan av stipendiaternas utställning visar konsthallen även en internationell grupputställning med filmer av unga konstnärer. Från Sverige deltar Victoria Verseau med en multimediainstallation bestående av skulptur, film och artefakter.

Verket är en hyllning till en person som Verseau lärde känna när de båda skulle genomgå könsbekräftande operationer i Thailand. Men för något år sedan valde vännen att ta sitt liv, vilket Verseau bearbetar i sin starkt personliga och estetiskt raffinerade konst.

Tillsammans visar dessa tre unga konstnärer på en högt driven känsla för konstens uttrycksmedel i kombination med djupa personliga erfarenheter. Det blir spännande att följa dem framöver.

Review of ‘Foreign Body / Future Watch’ at Kulturhuset Stadsteatern Stockholm by Dagend Nyheter / DN

Ten young, relatively unknown artists participate in “Future Watch” at Kulturhuset. It is a peaceful exhibition with strong sculptures, writes Bo Madestrand.

..The exhibition's strongest work is Victoria Verseau's room installation about a friend who takes her life after a gender-confirming operation in Thailand.

All in all, it is a quiet and intimate exhibition, at the same time as it shows the sculpture's strength as an artistic means of expression. “

“ I “Future Watch” på Kulturhuset deltar tio unga, relativt okända konstnärer. Det är en rofylld utställning med starka skulpturer, skriver Bo Madestrand.

..Utställningens starkaste verk är Victoria Verseaus rumsinstallation om en vän som tar sitt liv efter en könskonfirmerande operation i Thailand.
Det är ett stramt gestaltat sorgearbete, med spöklika, vita skulpturer och en moodboard som skissar upp en planerad film om den bortgångna vännen.

Sammantaget är det en stillsam och intim utställning, samtidigt som den visar skulpturens styrka som konstnärligt uttrycksmedel. “

Sydsvenskan Kultur
/ Thomas Millroth

"Excellent transformation numbers when Arnstedt invites young artists.

Victoria Verseau's art based on her gender confirmation is most distinct, and the others seek order through dissolution in this group exhibition," writes Thomas Millroth.

Arnstedt opens its season with a group exhibition. And it's nice to avoid an explanatory headline. What do these six young artists from Malmö and Stockholm tell us?
Olle Norås and Olof Inger paint feelings of rest and pleasure. Norås builds dense color forms in a self-invented decorative nature. While Inger's winding lines are traces of hand movements, memories of meditations with concentration in the moment.
But the pleasant calm is broken by cold blue neon in the next room. Victoria Verseau's light sculptures draw contours of body parts and personal notes she left behind after her transition. So there is a strong story as a basis. But authenticity is not the important thing for the experience. Verseau has formulated the emotional message in this dense installation with such sharpness that it digs deep into me. And a splash of humor helps, a drama is not a drama without a laughter mirror. The mirror hangs at the end of the room as a metaphor for the transformation. In the distance, one's figure is distorted to become more accurate as the distance shrinks. But how do I know it's the real picture? An obtuse uncertainty dissolves the boundary between the viewer and the artist.
After the emotional storm, another way of dealing with chaos meets in the next hall. ”

“Fina förvandlingsnummer när Arnstedt bjuder in ungt.

Victoria Verseaus konst som utgår från hennes könskorrigeringen är tydligast men fler söker ordning via upplösning i samlingsutställningen, skriver Thomas Millroth.

Arnstedt öppnar sin säsong med en samlingsutställning. Och det är skönt att slippa en förklarande rubrik. Men vad berättar då de sex unga konstnärerna från Malmö och Stockholm?
Olle Norås och Olof Inger målar känslor av vila och behag. Norås bygger täta färgformer i en egenuppfunnen dekorativ natur. Medan Ingers slingrande linjer är spår av handens rörelser, minnen av meditationer med koncentration på ögonblicket.
Men det behagliga lugnet bryts av kall blå neon i nästa rum. Victoria Verseaus ljusskulpturer tecknar konturer av kroppsdelar och persedlar hon lämnat bakom sig efter sin genomgripande könskorrigering. Det finns alltså en stark berättelse som grund. Men autenticiteten är inte det viktiga för upplevelsen. Verseau har nämligen formulerat det känslomässiga budskapet i den täta installationen med en sådan skärpa att det gräver sig djupt in i mig. Och ett stänk humor hjälper till, ett drama är inte ett drama utan skrattspegel. En sådan hänger i rummets kortsida som metafor för förvandlingen. På långt håll förvrängs ens gestalt för att bli korrektare när avståndet krymper. Men hur vet jag att det är den riktiga bilden? En molande osäkerhet löser upp gränsen mellan betraktaren och konstnären.
Efter känslostormen möter ett annat sätt att hantera kaos i nästa sal.”