Bianca Censori Introduces BIO POP in Seoul, Marking the First Chapter of a Seven-Year Artistic Cycle
By PAGE Editor
In Seoul, South Korea, Bianca Censori formally stepped into the contemporary art arena with BIO POP, a debut exhibition and live performance that signals the beginning of an ambitious seven-part series unfolding over the next seven years. For the Australian-born artist and architectural designer, BIO POP is not simply an introduction—it is an origin story, establishing the conceptual and visual language that will carry her practice through 2032.
Titled SERIES 01: BIO POP (The Origin, 2025), the work centers on a provocative thesis: “Domesticity is the mother of all revolutions, because all others trace back to it.” Censori positions the home as the first site of social inscription—the place where bodies are shaped, roles are rehearsed, and identity is quietly engineered. The domestic space becomes both reliquary and system, holding intimacy and constraint in equal measure.
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The performance unfolds as a self-portrait in constraint. Censori begins in a kitchen, baking a cake—an act loaded with ritual, labor, and expectation—before carrying it into a dining room populated by women who appear as dark-haired, masked doubles of the artist herself. These figures are restrained within Censori’s sculptural furniture works, collapsing the boundary between subject and object. The domestic, rendered uncanny, becomes a womb-like architecture where comfort mutates into control.
The furniture—designed by Censori and produced by Ted Lawson—recalls padded medical crutches: shearling surfaces, bone-colored upholstery, and brushed metal frames that read as extensions of the body rather than neutral supports. These pieces do not simply hold the figure; they mould it. Comfort becomes a mechanism of confinement, and domestic design reveals itself as a quiet architecture of power. Within this environment, the restrained bodies function as both living occupants and sculptural elements, blurring distinctions between furniture, idol, and flesh.
The cake, central to the performance, is carried not as nourishment but as offering. Baked live and presented ceremonially, it reframes domestic service as spectacle. The kitchen transforms into an altar, the cake into a relic, and the furniture into the first shrine of what Censori defines as a longer ritualistic arc. This gesture establishes BIO POP as the symbolic genesis of a cycle that will evolve through confession, worship, sacrifice, and rebirth.
Visually documented by photographer Noah Dillon, BIO POP is accompanied by a performance recording and a detailed furniture work list, underscoring the project’s interdisciplinary nature. Art direction, set design, furniture, and jewelry are all authored by Censori herself, reinforcing the totality of her vision. The performance is scored by Ye, while outfits are designed by KidO Shigenari, contributing to the work’s ceremonial and stylized atmosphere.
BIO POP is the first chapter in an expansive narrative that will unfold over the coming years: CONFESSIONAL (The Witness, 2026); BIANCA IS MY DOLL BABY (The Idol, 2026); STARBABY (Worship, 2027); BONE OF MY BONE (The Sacrifice, 2029); GENESIS (The Rebirth, 2031); and BUBBLE (The Ascension, 2032). Together, the series promises a sustained examination of the body, belief, and power—rooted in the domestic, yet reaching toward myth.
With BIO POP, Bianca Censori establishes a practice that treats domesticity not as backdrop, but as origin—an intimate system where identity is first formed, constrained, and ultimately ritualized.
Lookbook Images of Bianca Censori - BIO POP (Courtesy of Noah Dillon):
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