115 x 120 x 70 cm
My Shape (2018) is the final work of the exhibition “Sorry”, taking the form of a Levi’s denim jacket pattern, expanded three or four times larger than its original shape. Adorned with different pockets, visible through the transparency of the paper and different light bulbs illuminating the form, white cables link the piece to hidden plug sockets, recalling a similar piece made by the artist for the 2015 Ricard Foundation prize. The work is representative of a series of recurrent concepts in the artist’s work manipulation of scale, abstraction through monumentalization, highlighting of tangential objects integrated like sculptural elements by the artist, in a way in which others might try and hide them, as well as the melding of the intimate alongside objects of mass production and the globalization of tastes.
The work of Mélanie Matranga requires a period of adaptation for the observer, not in terms of intellectual or theoretical cognizance — the forms, objects and situations are both quotidian and universal — but rather in terms of emotional and sentimental range. Run through with threads and fluxes of affects, the artist’s work constructs a distance that must be negotiated, one which electrifies the interstice between the private sphere and the public space, between intimacy and togetherness, introspection and the staging of the self. Matranga’s work has the capacity to reflect on the present state of sensation, and the perpetual adjustments taking place between the real and the virtual. She reveals the complexity of sentiment in an immediate and sensitive way. She creates spaces for thought, where bodies communicate with one another when words do not suffice.
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Los Angeles museum repatriates Asante artefacts to Ghana Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Repatriation news Los Angeles museum repatriates Asante artefacts to Ghana The Fowler Museum at UCLA has repatriated seven artefacts that were taken during the Sagrenti War of 1874 Scarlet Cheng 5 February 2024 Share Unidentified member(s) of gold workers' guild (Asante peoples, Kumasi, Ghana), Royal necklace (gorget) or stool ornament; Before 1874; gold Fowler Museum at UCLA, Gift of the Wellcome Trust Seven handcrafted Asante objects have just travelled halfway around the globe to be returned, 150 years later, to the family of their original owners in Kumasi, Ghana...
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Truong Cong Tung’s Journey of a Piece of Soil (2013) and its accompanying object-based installation of the same name (2014) consider the function of ritual in larger modes of collective engagement and cultural production...
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