Why has the occult become such an important imageÌýforÌýfourth–waveÌýfeminism? Turner Prize Winner Tai Shani’s workÌýpresents a profound and complex investigation intoÌýthe relationships between feminism, magic, andÌýtime.ÌýHer performance-installationÌýDC: SemiramisÌý(2018)Ìýadapted poet Christine deÌýPizan’sÌýfeminist textÌýThe Book of the City of LadiesÌý(1405).ÌýThe book builds an allegorical city for notable medieval women, blurring fact and fiction in itsÌýhistorical narrative.ÌýShaniÌýusesÌýPizan’sÌýwork as a point of departure, toÌýimagine an alternative pastÌýandÌýconstruct a possible post-patriarchal future.ÌýThe title of her work,ÌýDCÌýrefers to ‘dark continent’: an allusion to psychoanalyst Sigmund Freud’s description of female sexuality.ÌýThinking of time in non-linear ways,ÌýDC: SemiramisÌýprobes and pushes ideas and experiences of femininity – to both critique current gender norms and structures, and radically reimagine them.Ìý
Tai ShaniÌýis a Tutor in Contemporary Art Practice at the Royal College of Art;Ìýand one of the four awarded artists of the Turner Prize 2019:Ìýthe artists requested for the prize to be shared as a symbol of solidarity atÌýaÌýtime of global political crisis.ÌýShe has recently exhibited her work at Temple Bar, Dublin (2019-20); Turner Contemporary, Margate (2019);ÌýCentroCentro, Madrid (2019);ÌýFondazione Sandretto Re Rebaudengo, Turin (2019); TheÌýTetley, Leeds (2018), Nottingham Contemporary, Nottingham (2018), Tramway, Glasgow (2018);ÌýAthens Biennale, AthensÌý(2018);ÌýWysingÌýArts Centre, Cambridge (2017);ÌýSerpentine Galleries, London (2016);ÌýTate Britain, London (2016).Ìý
Organised by Edwin Coomasaru (The Courtauld) and Rachel Warriner (The Courtauld)Ìý
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