Bianca Censori’s BIO POP made its debut last month in Seoul, and it’s less about furniture than provocation. The project stages human bodies as part of domestic form, folding performers into chairs, tables, and sculptural objects that blur the line between use and spectacle, anatomy and architecture.
BIO POP isn’t about mass-produced sofas or conventional chairs. These are limited-performance installations where the human figure is literally part of the furniture—torsos and limbs serve as backrests, legs, arm supports, and tabletops. Every piece is a hybrid of chair and living sculpture, hovering uneasily between art and domestic object.
The materials push the effect further: padded frames, brushed-metal supports, and shearling upholstery evoke clinical, medical, or physical-therapy spaces. Bone-toned finishes and prosthetic references reinforce the tension between comfort and constraint.
Censori’s pieces force a question: do we inhabit furniture, or does it inhabit us? BIO POP stages an intimate, slightly unsettling dialogue between body and object—functional, performative, and always provocative.
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Last modified: January 20, 2026
