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Domesticity is presented as the origin of all revolutions, the formative space where bodies, identities, and rituals are first shaped. What begins as a zone of intimacy becomes a site of confinement, inscribing its codes onto both body and spirit. In *BIO POP*, Bianca Censori embodies this tension by placing the body inside the language of the home. She stages herself baking a cake before entering a dining room where masked doubles of herself are restrained within sculptural furniture. These pieces, echoing medical supports, transform comfort into constraint, collapsing distinctions between body, object, and idol. The cake becomes an offering rather than sustenance, reframing domestic labor as ritual. This performance inaugurates a seven-part cycle in which the kitchen becomes altar, the furniture a shrine, and domestic gestures the foundation for a broader system of reliquaries, confessions, sacrifice, and rebirth.