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M+, Hong Kong, © Candice Breitz
Factum Tang
2009
In 2009, South African artist Candice Breitz produced FACTUM, a series of videos made in collaboration with identical twins and triplets. After asking her subjects to style themselves as similarly as possible, Breitz interviewed them separately in the same setting. The resulting works interweave their responses into artificial conversations, with close-up views of the siblings appearing both alone and side by side.
In the three-channel video FACTUM TANG, triplets Joelle, Jade, and Mariah Tang discuss their individual and shared experiences. The sisters often echo one another, offering complementary details and categorising their desires in parallel but gently diverging ways. As models and actresses, they have somewhat aligned career paths, but Mariah, the youngest, expresses the most drive towards independence. Throughout the video, differences that were barely perceptible at first—voices, facial features—seem to deepen. At the same time, the sisters’ layered answers condense into a striking collective portrait of identity formation.
Breitz edits out her own questions, but the artist’s larger interest in the formation of particular identities provides a strong through line. Named after Robert Rauschenberg’s 1957 paintings Factum I and Factum II, whose idiosyncratic differences demand close study, FACTUM TANG draws sharp attention to the shifting and unstable ways in which we define and distinguish ourselves.
In the three-channel video FACTUM TANG, triplets Joelle, Jade, and Mariah Tang discuss their individual and shared experiences. The sisters often echo one another, offering complementary details and categorising their desires in parallel but gently diverging ways. As models and actresses, they have somewhat aligned career paths, but Mariah, the youngest, expresses the most drive towards independence. Throughout the video, differences that were barely perceptible at first—voices, facial features—seem to deepen. At the same time, the sisters’ layered answers condense into a striking collective portrait of identity formation.
Breitz edits out her own questions, but the artist’s larger interest in the formation of particular identities provides a strong through line. Named after Robert Rauschenberg’s 1957 paintings Factum I and Factum II, whose idiosyncratic differences demand close study, FACTUM TANG draws sharp attention to the shifting and unstable ways in which we define and distinguish ourselves.
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