AMP_Ferias


Carmen Mariscal

ARTPARIS 2019 || Carmen Mariscal

04/04/2019 - 07/04/2019


+ PROJECTS
ARTPARIS 2019 || Carmen Mariscal | Ana Mas Projects

Series “La Esposa esposada (l’épouse menottée)”

ARTPARIS 2019 || Carmen Mariscal | Ana Mas Projects

Series “La Esposa esposada (l’épouse menottée)”2018
Photography on dibond
190 x 120 cm
Ed 1/6

ARTPARIS 2019 || Carmen Mariscal | Ana Mas Projects

Series “La Esposa esposada (l’épouse menottée)”2018
Photography on dibond
190 x 120 cm
Ed 1/6

ARTPARIS 2019 || Carmen Mariscal | Ana Mas Projects

Chez nous (Maison-Cadenas)
2018
Steel, Brass, Aluminium
40 x 31 x 31 cm

ARTPARIS 2019 || Carmen Mariscal | Ana Mas Projects

Chez nous (Maison-Cadenas)
2018
Steel, Brass, Aluminium
40 x 31 x 53 cm

ARTPARIS 2019 || Carmen Mariscal | Ana Mas Projects

Hogar (Foyer), 2018
Pasta de vidrio
35 x 35 x 35 cm

ARTPARIS 2019 || Carmen Mariscal | Ana Mas Projects

Contigo (Avec toi)
2018
Padlocks in white ceramic and Raku
8,5 x 6 x 1,5 cm and 11,5 x 5 x 1,5 cm


TancarVistes

Text

Ana Mas Projects is pleased to present the work of Mexican artist Carmen Mariscal for the Art Paris section Southern stars: An Exploration of Latin American Art,  curated by Valentina Locatelli.

The proposal is based on the current research that the artist is working through her last two exhibitions, “La Esposa esposada (l’épouse menottée)” a solo show in Maison de l’Amérique latine, Paris (2018) and “… Jusqu’à la fin des temps” an exhibition with Mercedes Gertz, Institut culturel du Mexique, Paris (2018).

The installation “The Beautiful Place” for the show “… Jusqu’à la fin des temps”   included a variety of multisensorial elements that addressed the transformation of materials, in a complex construction that alluded to processes of memory, oblivion, repression, and their traces in objects and spaces, one of the main themes of Mariscal’s recent work.

Mariscal uses elements originating in or found in situ at this suggestive scenario to allude to the experiences of war that are imprinted on the spatial memory and the material culture of places, experiences that have been repressed by the current inhabitants of the area.

“La Esposa esposada (l’épouse menottée)” takes its inspiration both in family and personal memories. Carmen photographed twenty women “wearing” a wedding dress made up of more than a thousand small steel handcuffs in a shape reminiscent of 19th century crinolines – steel hoops that trap the body. To do this, she called upon associations that host women suffering from difficult marital situations or forced exile.

Carmen Mariscal’s reflection is a journey from the individual to the more collective aspect of women’s status in marriage/ wedlock. “Esposa” in Spanish, the spouse, “esposas” handcuffs and ”esposada” handcuffed are the perfect linguistic meanings and images to illustrate Carmen Mariscal’s thoughts on women’s conditions in marriage.

Through her work, Carmen Mariscal endorses her position as a sensitive and militant woman artist. Memory, fragility and confinement are recurring themes in her work. These themes are expressed in installations, photography, video, sculpture and theater set designs.