Marguerite Humeau

Marguerite Humeau (born 1986) is a French visual artist.

She lives in London.

Humeau grew up in Beaupréau, France in 1986.

Her mother is a painter, and took Humeau to museums and galleries as a young child.

Humeau studied at the École des Arts Appliqués (ENSAAMA) Paris and went on to study at the Design Academy in Eindhoven before her acceptance  to the MA Design Interactions programme, led by Dunne & Raby, at the Royal College of Art, London.

Humeau cites this programme as a key experience that inspired her artistic methodologies.

The interdisciplinary nature of the programme, and its students allowed design and creation to be considered as informing essential questions about our relationship as humans to technological developments, and as a way to creatively approach future design of critical or speculative nature.

This approach to artistic investigation inspired Humeau's method of working which aims to tackle great mysteries of human existence through the employment of extensive research methods with specialised experts, scientists, and people who hold traditional, oral, or nearly-extinct forms of knowledge.

Humeau's speculations on the existence of extinct worlds, parallel presents, lost mental landscapes, or futures that have not come yet and the aspects that connect them to our own encourages audiences to ask questions surrounding what it means to be human.

The artist's representing gallery, White Cube, writes that the artist's work  "Rang[es] from prehistory to imagined future worlds, Marguerite Humeau spans great distances in space and time in her pursuit of the mysteries of human existence. She breathes life into lost things, whether they be lifeforms that have become extinct or ideas that have disappeared from our mental landscapes. Filling gaps in knowledge with speculation and imagined scenarios, her aim is to create new mythologies for our contemporary era."

Humeau began work on this series as her graduation project from the RCA.

Humeau aimed to bring the songs of prehistoric creatures (Mammoth Imperator (-4,5 MYA), Entelodont aka Terminator Pig (-25 MYA), Ambulocetus "Walking whale" (-50MYA), as well as Lucy (Australopithecus Afarensis (-3MYA)) back to life by reconstructing the larynx of each creature and echoing their voices inside her sculptures by breathing air into them. Lucy, from her Opera of Prehistoric Creatures, was included in The Universal Addressability of Dumb Things curated by Mark Leckey in 2013.

Through conversations with palaeontologists, zoologists and radiologists, Humeau melded forgotten ecosystems with our own by filling in absences caused by extinction.

Humeau collaborated with audio developer Julien Bloit so that the creatures were able to listen to one another, and generate more and more complex songs as they evolved during the time of the exhibition.

Echoes was a work that navigated questions of what it means to explore the spectrum between life and death, and how these divides between realms become more complicated in light of technological developments.

For Echoes, the exhibition space was "transformed into part temple, part laboratory for the industrial production of an elixir for eternal life".

Humeau resuscitated the voice of Queen Cleopatra to sing a love song from her era, a cappella, in the nine languages that she would have spoken and that are all extinct today.

In this way, Humeau explored what it means to be alive without a physical body, and how far the physical body can be abstracted, or if one can exist without a physical envelope.

The installation also featured two sculptures that were inspired by two Ancient Egyptian gods related to fertility, Wadjet (King Cobra) and Taweret, reimagined as animals on a production line.

Wadjet (King Cobra) was injecting itself with its own venom to create its own antidote, and Taweret was producing an elixir of life from various animal bodily fluids such as hippopotamus milk.

Humeau used deadly yellow black mamba python venom to cover the entire gallery space, referencing the death of Cleopatra.

This exhibition was a key moment for the artist, and was shown again at the Tate Britain in 2017–2018.

Humeau's FOXP2 was a series of work displayed at the Palais de Tokyo for the artist's first museum show.

The installation was based around research surrounding the genetic evolutions that allowed humans to develop language, and the single mutation of the FOXP2 gene that is supposed to set humans apart from non-human animals.

For this show, Humeau created a two-part installation.

The first part was entitled The History of Humankind, An artificial voice is beatboxing the origin of human language before joining a choir of 108 billion voices.

This is the number of humans who have ever lived on Earth since the beginning of humankind, 100 000 years ago. The voice was heard as if it was metamorphosing following the mutation of the FOXP2 gene, and followed visitors through the corridors of the exhibition, evoking human experiences on Earth through natural landscapes and the birth of language.

It seemed to meander in the maze through which humans access the second chapter of this installation, that Humeau called a "biological showroom".

In this second chapter, Humeau imagined a speculated world wherein this gene was not developed in humans but in elephants.

Presented around the central event of the death of an elephant matriarch, Humeau explored the various ways in which her imagined ecosystem would form around collective mourning.

Whilst the dying heartbeat of the elephant matriarch was giving the rhythm for the elephant's family wake, each member of her family gathered around her was developing sophisticated forms of language, emotions, and behaviour.

Humeau was commissioned by Rebecca Lamarche-Vadel to install an artificial lung in a burned Paris apartment.

The lung contained B12, a vitamin usually given to people that are suffering the aftereffects of having been in a fire.

Humeau's show Ecstasies at Kunstverein Hamburg, acting in sequence to the exhibition Birth Canal at the New Museum in 2018–2019, extended the artist's interest in engaging with extinct cultures and ecosystems.

The research conducted by anthropologist Bethe Hagens was a primary inspiration for this series of works.

In particular, Hagens's thesis that Paleolithic Venus figures may have not been art pieces, but instead recipes for the ingestion of various animal brains that were supposed to contain psychoactive substances.

The sculptures that were created navigated the transformations between the earthly female body, the divine and the animal.

Each sculpted figure had a voice attached to it that was recreated through a cappella singing as if through a seance.

The singers were asked to embody either natural elements or the sounds of animals to perform and push their voice to test boundaries of the physical shell of their bodies.

The exhibition also featured diagrams and works on paper that explored these shamanic journeys and their effects on brain activity further.