EMBODY

source: domuswebit

La società si sta trasformando a un ritmo molto veloce, ridefinendo costantemente intimità, comportamenti sociali e interazioni.
Le tecnologie offrono una nuova esperienza esteriore del corpo che tende a trasformare le nostre relazioni e a scollegare le persone dagli altri e da se stesse.

Shani Ha, Embody

Embody è una risposta alle interazioni sociali quotidiane e alle rappresentazioni del corpo, veicolate nella serie attraverso “sculture corporee” trasformabili.
Queste sculture interattive mettono in discussione il corpo nel suo rapporto di intimità e di alterità. Si estendono con il corpo e diventano protesi sociali di cui ci si può appropriare per creare nuovi contesti di prossimità.
Queste sculture tessili inanimate appaiono come bozzoli che proteggono, nascondono, trasformano il corpo e ne definiscono la silhouette. Chi lo indossa scompare sotto il peso della scultura e si fonde in forme viventi enigmatiche e assurde.
Embody sfuma i confini tra corpi, scultura e tentativi di ridefinire le interazioni e le rappresentazioni sociali. Questa serie di sculture è la catalisi per fotografie, installazioni e performance.
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source: domuswebit

Society is morphing in a very fast pace constantly redefining intimacy, social behaviours and interactions. Technologies offer a new outer body experience that tends to transform our relationships and eventually disconnect people from others and from themselves.

Embody is a response to everyday social interactions and body representations. The series incarnate these shifting social boundaries and representations through transformative « Body Sculptures ». These interactive sculptures question the body in its rapport to intimacy and to otherness. They extend the body and become social prosthesis that one can appropriate to create new contexts of proximity.

The inanimate textile sculptures appear like cocoons that protect, hide, transform the body to sculpt and morph its silhouette. The wearer disappears under the weight of the Body Sculpture and merges into enigmatic and absurd living forms.

Embody blurs the boundaries between bodies, sculpture and attempts to redefine interactions and social representations. This series of sculpture is the catalysis for photographs, installations and performances.
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source: catalogodiseno

En su obsesión por la relación entre el cuerpo y el espacio y desde el año 2011 hasta la fecha, la artista francesa Shani Ha desarrolla un proyecto llamado Embody. Se trata de esculturas textiles inanimadas que son utilizadas por el usuario para transformar su relación con el contexto a partir de respuestas a las interacciones sociales cotidianas y representaciones corporales. Estas esculturas interactivas extienden las fronteras del cuerpo y se convierten en ”prótesis sociales” para apropiarse de nuevos contextos de proximidad en una sociedad en donde las tecnologías alteran las relaciones y desconectan a las peronas de los demás y de sí mismos.

Las esculturas textiles inanimadas aparecen como capullos que protegen, se esconden, transforman el cuerpo para esculpir y transformar su silueta. El usuario desaparece bajo el peso de la escultura del cuerpo y se funde en las formas de vida enigmáticos y absurdas. Embody desdibuja los límites entre los cuerpos, la escultura y los intentos por redefinir las interacciones y representaciones sociales. Esta serie de escultura se gtransforma en insumo para fotografías, instalaciones y performances.
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source: shani-ha

Shani Ha is born in 1987 Paris, France. She obtained her MFA in 2012 in France. She currently lives and work in New York.

Shani Ha creates versatile sculptures by twisting familiar objects to question intimacy and its relationship to others. Shani emphasizes or diminishes the shapes and materiality of these objects, which are usually related to private contexts.

These pieces are the catalysts photographs, installations, and collaborative performances.

Shani Ha is interested in social behavior in their relationship to comfort and conviviality.

Her sculptures suggest potential functions and tend to become design pieces. They can be stimulated through performance, experimentation and appropriation, either spontaneously or with a scenario. These actions engage the viewer and performer directly and provoke co-presence and interactions.

Shani Ha’s work has been shown internationally at the Musée des Beaux Arts de Caen; La Fai-Ar, Marseille for Marseille Provence European Capital of Culture 2013; La Journée du Patrimoine, Marseille; Parc de l’Hotel de Ville de Fontenay-Sous-Bois (permanent collection of public art sculptures); ESBA Le Mans; International week of Architecture, Le Mans; Academie des Beaux Arts in Kinshasa, Republic Democratic of Congo; the Kunsthalle, Detroit; Art Helix, Brooklyn; EyeBeam on Governor’s Island, New York.
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source: shani-ha

Shani Ha est née à Paris, France en 1987 et obtient son DNSEP en 2012 en France.

Shani Ha vit et travaille à New York.

Sa pratique interroge l’intimité et le rapport à l’autre au travers de sculptures plurielles. Les sculptures de Shani Ha donnent lieu à des photographies, des installations et des performances collaboratives.

L’artiste détourne et réinterprète des objets familiers et les fonctions qu’ils suggèrent. Elle s’intéresse aux usages dans leur rapport au confort et à la convivialité.

Shani Ha amplifie ou diminue leurs formes et matérialité, souvent liées au privé ou à l’intime, et les oriente parfois vers des situations de mise en commun.

Ses sculptures peuvent potentiellement êtres utilisées et ainsi tendre vers le design. Leur fonctionnalité est activée par la performance, l’expérimentation ou l’appropriation ; de manière spontanée ou scénarisée.

Cela peut produire des situations de coprésence et d’interactions qui engagent directement les spectateurs ou les acteurs.

Le travail de Shani Ha a été présenté internationalement à la Kunsthalle, Détroit; Art Helix, Brooklyn, NY; EyeBeam à Governor’s Island, New York; Musée des Beaux-Arts de Caen; Marseille Provence Capitale Internationale de la Culture 2013; La Fai-Ar, Marseille; Au Parc de l’Hôtel de Ville de Fontenay Sous Bois (collection permanente); ESBA Le Mans; Académie des Beaux-Arts de Kinshasa, RD Congo; Printemps de l’Architecture; Etoc Demazy, Le Mans.