>I wear my flesh like a necklace, PTX, Athens,
>'Of what remains' screening, PTX, Athens
>First as Farce, then as a tragedy, radio residency, Tikka radio
>'Of what remains', ExistXDopamineXAlgharib, Amman
>'Of what remains', Hiraeth group show, Alien She, Paris
>'Living in the end of times', re-airings, SAVVY contemporary, Berlin
>Radio Papoula, Dublab Radio, Sao Paulo
>'Living in the end of times' residency, Tikka radio, Marseille
>Umbruch, art sale for Beirut, Online sale
>Date(s), mailed group exhibition, Online sale
>Tranchante, l'aurore, group show, in.plano, Paris
>Various artist for covid relief, Etang Brulant Label, Paris
>33'23'13, open studios group show, in.plano, Paris
>Life on Mars & Nuclea series, inplanoXYZ, in.plano, Paris
>'Cosmosea I', VASTLAB film festival, Los Angeles
> Of what remains series, Art up! Lille
>'Cosmosea II', Pugnant Film Series, Athens, Greece
>'Of Decay', La fondation, Silencio, Paris
>Cosmos/Atomos, solo show, Galerie ACS, Paris
>Estienne performance, L'international, Paris
>Estienne performance, Silencio, Paris
>'Fertility' & 'Of Decay', Aemergence Art Fair, Paris
>Estienne performance, Aemergence Art Fair opening, Paris
>Estienne performance, Niceshopsu art space, Osaka
>Cosmosea series, Trashexploitation Film Festival, Athens
>'Moon Study', Art Montpellier Fair, Montpellier
>Estienne performance, Paris Fashion Week, Leon Louis, Paris
>'Cosmosea I', Trashexploitation Film Festival, Paris
>'Shapeless future', Echo Bunker finalist, Berlin
>'Of what remains' publication, Motto books, Berlin
> MRes thesis, "Berghain, a heterotopia ?", Paris X
Marina Mardas is a French-born Lebanese artist who is currently based in Paris. Graduated from MRes in Sociology in 2016, she decided to ally her research skills to her need for creation by starting a transdisciplinary art career.
Through her work she aims to do a long-term research on postmodern society and the collective memory it holds. Her Lebanese roots as well as her sociology academical background gave her a sharp yet critical vision on the matter.
Her work mainly revolves around Memory and particularly through its remainings and their decay. By doing what she calls « an archeology of the present », her approach oscillates between the individual and the collective by translating existing, imagined or supposed memories into her pieces.
As being both transdisciplinary and transmedia, her media include: installation, sculpture, sound design, photography, video and research through social sciences, history and philosophy. Questioning the world in a rhizomatic way, her artworks are always dancing poetically with a dystopian vision of the world that merges to questions that could lead to see the light of an utopia.
Her aesthetic is mainly composed of very contrasted black and white or vivid colors that represent the visual shortcut dichotomy between utopia and dystopia. Used with a reversed symbolism, the pieces appear to be an aestheticization of the decaying process. This aesthetic of the trace uses only human-created materials which are the symbols of postmodernism. Marina Mardas is mostly influenced by postmodern and postcolonial theories, brutalism architecture, symbolism & experimental music.