“To the oscillating rooms where the subjectivities of heroines deteriorate, swell and gush, to the eroded streets where the interiors of imaginary characters and that of the bodies that animate them overlap in impossible ways.”

In this expanded reading on an impossible timeline, the lives and fictions of Annie Paradise and Jean Heller overflow and haemorrhage into each other creating a spiralling narrative told through  fractured recollections, dreams and desires.

An expedition to the edges of the inchoate territory of over identification. To the oscillating rooms where the subjectivities of heroines deteriorate, swell and gush, to the eroded streets where the interiors of imaginary characters and that of the bodies that animate them overlap in impossible ways. A perpetual decapitation, a ringing echo, a forever reflection between two mirrors creatinginfinitely nestled fictions that become reflex, gossamer body doubles of each other, ceaselessly interchanging through filters of fiction and mythology, erasing and voiding the original forever.

Tai Shani is an artist living and working in London. Fantastical and cinematic, Shani’s performances and films contain multilayered and self-reflexive narratives that are often collapsing departures from supposedly obscure historical dramatizations or abstracted adaptations of films, plays and books.

Shani’s scripts and texts alternate between familiar narrative styles and structures and theoretical prose that examine the mechanics of simulatory channels and their agency, the lives of fictional characters beyond spectatorship, over-identification and death in the fictional space , these intricate narratives are played out by elaborately costumed large casts of archetypal and pseudo-historical characters drawn from diverse cultural mythologies in Neo-Baroque settings.

Referencing early science fiction, Greek tragedy and theatrical spectacle, chaotic, a-historical and non-linear in form, Shani’s work explores fictional strategies, the cinematic memory, identification, as well as multiple temporal structures in the ‘real’ and the mediated.

+ www.taishani.com