"The debut explores the idea that while we create the world around us, that world simultaneously creates us. It's a concept long familiar to architects, for whom design has often been framed as a civic duty. Yet Censori's approach is not without precedent. A surge of feminist artists in the 1960s and 1970s, including Alina Szapocznikow, used the body, or its absence, in conjunction with furniture to explore domesticity and sexual liberation."
"Bio Pop's launch coincides with Censori's recent jewelry collection, inspired by scalpels, and other medical tools whose design has remained unchanged for over 180 years. The speculum in particular is increasingly viewed as an oppressive instrument, due to its sharp edges, rigid materials, and poor ergonomics; its inventor, Dr. J. Marion Sims, was also known to conduct brutal surgeries on women without anesthesia. It has inspired a cuff in Censori's jewelry line, which is priced between $2,000 and $3,900."
Bio Pop examines reciprocal relationship between humans and built environments, emphasizing how design shapes bodies and social experience. Censori draws on a lineage of feminist artists who used the body and furniture to interrogate domesticity and sexual politics. The exhibit connects functional objects—massage chairs, sofas, obstructive tables—to female figures and experiences of containment. A concurrent jewelry line repurposes surgical forms such as scalpels and speculums; the speculum is framed as an oppressive instrument tied to J. Marion Sims's brutal experiments. The show provokes both praise and criticism and inaugurates a seven-part series running through 2032.
Read at Architectural Digest
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