Like There Is No Tomorrow, 2020
In the current time, nothing is permanent, and after an indefinite period, we may be already living in a new reality. While trying to cope with frustrating uncertainty during the COVID-19 pandemic, we may find ourselves in extreme situations that are not characteristic of our choices. The exhibition reflects on the artist's personal events, provoked by curiosity to disrupt habitual patterns.
When entering a space, enormous Grills are hanging above the visitors head, perhaps as a symbol of extravagant identity. Factors like a physical presence, scale, and mass play an essential role in this work. More specifically, Männa is experimenting with how the physicality of sculpture might activate the relationship between the objects and the human body in space. The objects, employed by gravity, materiality, and scale could activate visitors' awareness of their corporeality as they enter the gallery space.
The artist is curious whether a layer of latex can give an abstract object subjectivity. When she dresses a sculptural object in a playfully clumsy latex costume, it transforms the form into a lively character. The use of tactile and sensuous latex gives its objects a humane, even sexual tone. The costumes could indicate a wish to break free as they carry connotations related to fetishes, queer culture, and taboos.
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