No Name, 2017

MARIE CLAIRE MESSOUMA MANLANBIEN

 

EUR 13,500 + VAT

 

 

No Name, 2017 

 

Polystyrene, polyurethane resin, copper, raffia, ropa, razor blades, acrylic paint, fabric

230 x 128 x 250 cm

 

 

About this work

Manlanbien speaks of her desire to make works that both ‘witness’ and ‘trace’ past histories. Here she responds specifically to the 2012 ‘Delhi Gang Rape’, as it came to be known, a brutal example of the cruel hatred which can occur through the dehumanization of the female body which came to global attention. Her shrine sculpture honours and remembers not Hindu deities, but the all-too-many victims of misogynistic violence.

MARIE-CLAIRE MESSOUMA MANLANBIEN BIOGRAPHY

Joseph Beuys and Senga Nengudi are feasible forerunners of Marie-Claire Messouma Manlanbien, as  the young French artist of Ivorian and Caribbean descent makes sculptural works which operate as ‘force fields’, and which she also uses in performance. These combine craft skills derived from the matriarchal Akan society in Côte d’Ivoire with traditional European sculptural techniques to arrive at hybrid objects. In Nottingham Contemporary curator Cedric Fauq’s words, Manlanbien ‘investigates and produces forms that belong to a certain concept of feminine blackness’ to produce ‘a language that escapes the coloniser’s gaze and understanding.’ 

Mater #7 Ladies’ Garden, 2016

MARIE CLAIRE MESSOUMA MANLANBIEN

 

Matter 7 Ladies’ Garden, 2016

EUR 10,500 + VAT