Minia Biabiany, Musa Nuit

La Verrière Brussels


Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
From June 27, 2020 until September 5, 2020
For the fourth segment of the series “Matters of Concern | Matières à panser”, launched in April 2019 at La Verrière, the Brussels art space of the Fondation d’entreprise Hermès, curator Guillaume Désanges presents a solo exhibition by the Guadeloupean artist Minia Biabiany. The title "Musa Nuit” is a reference to the flower of the banana tree, renowned for its medicinal properties and asa healing agent for the uterus. Biabiany’s sculptural drawings, objects and weavings fuse traditional skills with local and organic materials to evoke Caribbean women’s bodies as witnesses to her country’s colonial past. Her exhibition “Musa Nuit” offers a reflection on the sexuality of contemporary Guadeloupean and Caribbean women and the ways in which history has imprinted itself upon their subconscious. In the Brussels exhibition space, Biabiany presents a sensual, metaphoric journey in which handcrafted objects, sculptures and banana flowers serve to reactivate repressed memories. Born on the French Carribean island of Guadeloupe in 1988, Biabiany views her exhibition as a ritual, allowing her to engage with the question of identity in ways that are both poetic and political.
Opening in 2019, “Matters of Concern | Matières à panser” is the third series of exhibitions curated by Guillaume Désanges for La Verrière. Following on from “Des gestes de la pensée” (“Gestures, and thought”) and “Poésie balisitique” (“Ballistic poetry”), this series coheres around a particular attention to materials. With a title borrowed from philosopher Bruno Latour, it features a wide range of different approaches that variously foreground the spiritual, social, symbolic, therapeutic and magical properties attributed to materials. Across the exhibitions that make up the series, new relations between art and the living world, objects and material elements emerge. Désanges offers an open exploration that sets out to pay close attention to, and even to “care” for, materials, as well as to grasp their transformational power.
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès
Exhibition view of Minia Biabiany, ‘‘Musa Nuit’’, La Verrière (Brussels), 2020 ©Isabelle Arthuis / Fondation d’entreprise Hermès