Bianca Censori bursts into contemporary art with BIO POP

Bianca Censori bursts onto the international art scene this week with BIO POP, a performance and exhibition presented in Seoul on December 11 and 12, marking her formal entry into the art world. For the Australian artist and designer, previously known for her architectural work and her presence within the contemporary pop ethos, this piece is the first chapter in a seven-part series unfolding over seven years. This long-term plan reveals a conceptual ambition rarely seen in a debut. Those not in Seoul can follow the live event via a livestream on Thursday, December 11, at biancacensori.com.

https://www.youtube.com/watch?v=5pA6qK8ZQkQ&list=TLGGyBWgggaFXqUxMTEyMjAyNQ

In BIO POP, domesticity becomes the terrain where the first acts of violence, the first rituals, the first codes of identity are gestated. The official statement puts it bluntly: “Domesticity is the mother of all revolutions.” And it is precisely in this space—the kitchen, the dining room, the house as a matrix of formation—that Censori situates her body. She does so through a seemingly simple gesture: baking a cake. But in her work, nothing is innocent. The kitchen becomes both origin and conflict, a place where the body is disciplined and where domestic service becomes a liturgy.

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The action continues when Censori carries the cake to a dining room where women await her, women who function as her replicas: dark-haired, masked, living metaphors for her own multiplication. These doubles do not move. They are contained, held by sculptural furniture designed by the artist herself. The pieces evoke medical prostheses: padded crutches, brushed metal structures, upholstery in bone tones. They are not furniture that accompanies the body, but devices that mold and confine it. Extensions that transform domestic comfort into surveillance, and architecture into control. The trapped doubles function as objects, bodies, and idols simultaneously, fusing matter and presence into a single symbolic system.

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The cake in BIO POP is not food, but an offering. A ritual object that activates the tension between nourishment, work, and ceremony. The table becomes an altar; the kitchen, a place of origin; the furniture, a sanctuary that defines the first stage of a broader journey. Censori conceives of this performance as the inaugural point of a cycle that, according to the artist, will evolve toward forms of confession, idolatry, sacrifice, and rebirth. The titles of the upcoming installments—Confessional, Bianca Is My Doll Baby, Starbaby, Bone of My Bone, Genesis, and Bubble—sketch a narrative that progresses from intimacy toward ascension, from matter toward myth.

In this debut, Censori transforms domesticity into a revolutionary device, the body into architecture, and the image into multiplicity. In a cultural context where Censori’s public persona generates both analysis and speculation, BIO POP offers another interpretation: an artist who transforms domesticity into a conceptual apparatus and her image into multiplicity. Nothing in this first installment suggests that the cycle it has begun will be discreet. Quite the contrary: it seems designed to become one of the most stimulating—and most debated—performance projects of the coming years.