Bianca Censori‘s exhibition and performance, BIO POP, made its debut last week in Seoul, South Korea. BIO POP is the first installment in a seven-part series that will span the next seven years and is Censori’s official debut in the art world. Presented over two days, the work marks a dramatic departure from her earlier roles in architectural design and fashion, signaling a new creative chapter rooted in concept, ritual, and embodiment.
BIO POP stages a narrative that transforms ordinary domestic tasks into heightened symbolic actions. The piece unfolds with Censori herself clad in a second-skin latex suit, moving through a stark, minimal set designed to resemble a domestic interior. In one of the central gestures of the performance, she bakes a cake within a kitchen-like space and then ceremonially carries it into a dining area, where the act of placing the cake on a table reframes what might be a household chore into a ritualistic offering. According to the official description, the cake functions not as sustenance but as a symbolic relic, representing the labor, ritual, and expectations embedded in domestic life.
Censori’s decision to focus on the domestic sphere is intentional. She sees the home as “the mother of all revolutions,” a place where roles, behaviors, and societal norms are first learned and internalized. By foregrounding the body within this space, BIO POP interrogates how identity and power are shaped by the intimate routines of everyday life.
A strong aspect of BIO POP is how it collapses the distinction between humans and objects. Censori employs masked performers dressed to resemble her sometimes integrated into sculptural furniture hallenging viewers to reconsider how bodies are used, displayed, or even constrained by the objects that surround them. These living forms become both functional and symbolic elements: chairs, tables, and other domestic fixtures that simultaneously support and confine. This merging of flesh and furniture reflects a broader artistic inquiry into how environments shape human experience and vice versa.
The beginning of a seven-part cycle is marked by this performance. The cake becomes a symbolic relic, the kitchen becomes an altar, and the furniture becomes the first shrine in a cycle that will eventually include sacrifices, confessions, reliquaries, and rebirths:
SERIES 02: CONFESSIONAL (THE WITNESS, 2026)
SERIES 03: BIANCA IS MY DOLL BABY (THE IDOL, 2026)
SERIES 04: STARBABY (WORSHIP, 2027)
SERIES 05: BONE OF MY BONE (THE SACRIFICE, 2029)
SERIES 06: GENESIS (THE REBIRTH, 2031)
SERIES 07: BUBBLE (THE ASCENSION, 2032)
Credits:
Art Direction, Set, Furniture & Jewelry Design: Bianca Censori
Furniture Producer: Ted Lawson
Music Score: Ye
Outfits: KidO Shigenari
Photography: Noah Dillon
