Sculpture - Performance - Photography

Shani Ha

Lives and works in New-York – USA

Singularité #3 - Shani HA
Singularité #11 (détail 1) - Shani Ha

Works for sale

Biography

Shani Ha

Graduated in 2012 from l’Ecole Supérieure des Beaux-Arts du Mans, Shani Ha develops her career in New York. The individual and the body (of the viewer, the artist, the collective body) are central in her practice. The presence and memory of the body confronts the viewer to their own existence and relationship to others. Her production involves installation, public art, sculpture, drawing, photography and collaborative performances. Shani Ha questions the notions of identity, otherness and individuality to investigate the possibility of universal humanism. She attempts to socialize forms, spaces and relations by engaging with the public and collaborators.  

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Highlights

  • In 2019 she presents Embody at Pace Gallery New York in Torkwase Dyson’s solo exhibition I Can Drink The Distance.
  • Work presented internationally at the Museum of Art and Design in New York , Central Park for the 50 years of Public Arts in NYC Parks and at the Consulate General of Greece in New York
  • Exhibition and art projects worldwide (USA, France, Germany, République Démocratique du Congo…) 
  • In 2020 Shani Ha presents Mitoyen for the 69th edition of Jeune Création at the Fondation Fiminco.
Shani Ha, Embody (collaboration avec H.A.M), 2017

To go further…

Metamorphosis, appropriation and collaboration are central to her practice. She explores multiple shifts: from private to public, individual to collective, particular to universal, ephemeral to permanent, subliminal to evident, contemplation to action etc.

Shani Ha, Empathicity (New-York) #2

Ha works with familiar materials such as textile, soft matters and everyday objects to create relatable pieces. Her work examines the familiar and interrupts at an infra-ordinary scale.

In public spaces, her installations integrate the environment to disrupt it. The passerby becomes viewer and sometimes actor. The everyday life is staged and projected so everyone can question and experiment it in a different context. Her work tends to disturb the attention to make it captive and activate the latent state of awareness towards the spaces and people that surround us.

Her installations shape sorts of social utopias that subtly try to contaminate reality.

The audience is invited to break the contemplative relationship to the work by activating the sculptures. The relationship to the work can shifts from contemplation to activation, experimentation and performance. Pieces can be manipulated, activated, transformed and appropriated by the public or by collaborators. These dispositives produce situations that engage the viewer directly and allow a collective, active and tangible relationship to the work. Her participative practice attempts to empower the viewer by assessing the potential power of his actions.

Finally, its participative approach tends to give the viewer the power to impact the work and measure the effects of its potential action.