I wonder whether you could talk about the origins of the research leading you through this project, and to explain the how island of Alicudi figures within this? So I suppose the origin of how we came to speak together about this project, though not the origin of the project itself, was through talking about the various instances of Ergot consumption on the island of Alicudi, just off the coast of Italy. Thank you so much for having this conversation with me. LP: All right, so we can just jump straight in, I think. Her work has been shown at Turner Contemporary, UK (2019) Grazer Kunstverein, Austria (2019) Fondazione Sandretto Re Rebaudengo, Italy (2019) Glasgow International, UK (2018) Wysing Arts Centre, UK (2017) Serpentine Galleries, London (2016) Tate, London (2016) Yvonne Lambert Gallery, Berlin (2016) and Irish Museum of Modern Art, Dublin (2016).Ĭonversation between Tai Shani and Lucia Pietroiusti In 2019 Tai was a Max Mara prize nominee. Shani is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. The collected texts were published in 2019 as Our Fatal Magic. This non-hierarchical approach also determined the construction of the characters and narrative of DC. These alternate between familiar stylistic tropes and structures and theoretical prose in order to explore the construction of subjectivity, excess and the affects of the epic as the ground for a post-patriarchal realism. Tai Shani’s project DC Productions (2014-2019) proposed an allegorical city of women, it was an experimental and expanded adaptation of Christine de Pizan’s 1405 pioneering feminist book, The Book of the City of Ladies within which Christine builds a city for notable women drawn from a medieval conception of history, where fact, fiction and myth are blurred. Shani creates violent, erotic and fantastical images told in a dense, floral language which re-imagines female otherness as a perfect totality, set in a world complete with cosmologies, myth and histories that negate patriarchal narratives. Her multidisciplinary practice, comprising performance, film, photography and installation, revolves around experimental narrative texts. Tai Shani (London, 1976) is an artist living and working in London. Home page image: Tai Shani, The Neon Hieroglyph, 2021. With heartfelt thanks to Nicoletta Fiorucci Russo and Fiorucci Art Trust. Attribution 4.0 International (CC BY 4.0)īack to Earth is curated and produced by Rebecca Lewin, Hans Ulrich Obrist, Jo Paton, Lucia Pietroiusti, Holly Shuttleworth and Kostas Stasinopoulos. Anna Gordon, Fernan Federici & Jim Haseloff. Wellcome Collection / Ergot Fungus Infection in Wheat. The film series The Neon Hieroglyph is commissioned and produced by Manchester International Festival, the project is also commissioned by The British Art Show, and is developed in collaboration with the Serpentine Galleries.įilm credits: Editor: Lori E Allen / Composer: Maxwell Sterling / Footage: Ergot: The Story of a Parasitic Fungus. The expansion of consciousness and hallucinatory qualities of psychedelic experiences could thus offer both a hypothesis and an access point to multiple histories and alternative knowledge within the storytelling potential encapsulated by Pompeii. Also the sun! Sun is a ghost that haunts the night!”. In the artist’s words, through The Neon Hieroglyph she addresses “the building of a house we will never live in, a house for our ghosts, where the gothic and the hallucinatory collide, where gothic affects and fractal dread form a mausoleum for psychedelic spectres. Shani’s investigation spans many fields – from the cellular to the galactic, from Palaeolithic cave markings to the optic markings left by drone photography in our internal eye, dancing plagues, communist psychedelic witches, hyper-sexual fungi, descents and ascents. A full interview text accompanies the film and expands on some of the ideas in Shani’s forthcoming project The Neon Hieroglyph, which weaves together a series of poetic considerations on a feminist history of Ergot, a fungus that grows on rye and other common grains from which the hallucinogenic drug LSD is derived. Titled Untitled Hieroglyphs, it is a visual response to their conversation. The first presentation is by artist Tai Shani who developed a video in dialogue with Serpentine’s General Ecology Curator, Lucia Pietroiusti. Archaeological Matters, inviting three artists involved in the Serpentine’s Back to Earth project to share insights from their ongoing research which intersects with questions connected to archaeology, archaeobotany and archaeozoology. The Archaeological Park of Pompeii and London’s Serpentine Galleries have teamed up in the context of Pompeii’s first contemporary art programme, Pompeii Commitment. Conversation between Tai Shani and Lucia Pietroiusti, January 2021
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