Geneva laureate of the 2025 Manor Art Prize, Sarah Benslimane (*1997) presents a collection of works created in recent years alongside new productions in her first major institutional exhibition wall works and sculptures. The artist restores to the painting and the image all their materiality, presence, and physical density.

On one hand Sarah Benslimane belongs to a generation that has experienced the technological transformations of the Internet and the smartphone, on the other hand she is also the heir to artistic movements concerned with the modalities of the media image. In a dynamic that is both historical and contemporary, her works appear strangely familiar. They evoke certain artistic logics inherited from modernity—the grid, collage, randomness— as well as references to everyday life, whether work, leisure, or areas in between, such as DIY. By revisiting the promises of decoration and of abstraction, with her “rematerialized” images Sarah Benslimane introduces a critical distance that renews their interpretation. Sometimes she presents a factual and cold assessment, as in the work titled “2025”—at the same time, she takes a dark and melancholic look at a “world turned upside down” (“un monde à l’envers”). To extend on H. Rosenberg, Sarah Benslimane’s montages and assemblages are attempts to perform the image and the commodity. 

Born in France in 1997 to an Algerian father and a Franco-Swiss mother, she lives and works in Geneva. After a presentation at the Centre d’Art Contemporain Genève in 2022, the 2025 Manor Art Prize offers the artist a major exhibition at the Palais de l’Athénée, in collaboration with the Société des Arts de Genève. Sarah Benslimane’s exhibition occupies the Salles Crosnier and Saint-Ours, both a space dedicated to young artists and one devoted to curatorial practice and projects led by emerging curators.

For more information, you can visit the website of SDA

• Sarah Benslimane is the Geneva winner of the 2025 Manor Cultural Prize
• An exhibition organized by MAMCO, under the direction of Julien Fronsacq, in collaboration with the Société des Arts de Genève and with the support of SCHG (Société Coopérative d’Habitation Genève)