Dark Continent: SEMIRAMIS, Tramway, Glasgow, 2018. © Keith Hunter

A gathering at the heart of the sources of the artist co-winner of the Turner Prize (2019) whose works mix dreamed narratives with uninhibited feminist ecologies.

In conversation with Madeleine Planeix-Crocker.

Tai Shani's multidisciplinary practice, comprising performance, film, photography and installation, revolves around experimental narrative texts.

Shani creates violent, erotic and fantastical images told in a dense, floral language which propose re-imagines feminine otherness as a perfect totality, set in worlds complete with cosmologies, myth and histories that negate patriarchal narratives. These alternate between familiar stylistic tropes and structures and theoretical prose in order to explore the construction of subjectivity, excess and the affects of the epic as the ground for a post-patriarchal realism. 

Tai Shani's project DC Productions (2014-2019) proposed an allegorical city of women, it was an experimental and expanded adaptation of Christine de Pizan's 1405 pioneering feminist book, The Book of the City of Ladies within which Christine builds an city for notable women drawn from a medieval conception of history, where fact, fiction and myth are blurred. This non-hierarchical approach also determined the construction of the characters and narrative of DC. The collected texts were published in 2019 as 'Our Fatal Magic'.

She is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. In 2019 Tai was a Max Mara prize nominee. Her work has been shown at Kunstnernes Hus, Oslo (2021), Manchester International Festival (2021); Turner Contemporary, UK (2019); Grazer Kunst Verein, Austria (2019); Nottingham Contemporary, U.K. (2019); Fondazione Sandretto Re Rebaudengo, Italy (2019); Glasgow International, UK (2018); Tenstakonsthall, Sweden (2017), Wysing Arts Centre, UK (2017); Serpentine Galleries, London (2016); Tate, London (2016); and Irish Museum of Modern Art, Dublin (2016).


Born and raised in Los Angeles, Madeleine Planeix-Crocker is associate curator at Lafayette Anticipations.

In 2018, she founded the "Warm Up Sessions", a cycle of public and participative meetings around training practices in dance and performance. In the spring of 2021, she proposes the "Dérives" series, which aims to contribute to the writing of new histories of the arts through dialogues co-constructed with contemporary artists. Her interests lie at the crossroads of research and curation of feminist, queer and intersectional performances.

Madeleine is also co-director of the Chair "Troubles, Dissidences and Aesthetics" at the Beaux Arts de Paris and a permanent member of the Scientific Research Council of the ESAD in Reims.

A graduate of Princeton University in cultural studies, Madeleine obtained a Master's degree in Media, Art and Creation from HEC Paris and a Master's degree from EHESS. There she carried out a research-creation project with the association Women Safe, where she now runs a theatre and creative writing workshop. Madeleine is currently doing a thesis at EHESS (CRAL) on contemporary communal performance in France.

She has practiced dance and theatre since childhood.