Rebekka Benzenberg
@r.ben.zen
Born 1990 in Duisburg, Germany. Lives and works in Berlin, Germany.
Tension - the allure of contraries, whether visible or invisible as well as the "inside", the "outside" and especially the "in between" is the focus of Rebekka Benzenberg.
What we consider humane is a normative regulation of social behavior, which isn't constant. The restrictions and ostracisms that these regulations cause are as variable as the basic idea they rely on.
Conventions, their symbols and codes are dynamic. Rebekka Benzenberg works with materials that stand and can be read as encodings for social and societal phenomena.
She mainly builds installation-like, amorphous or art-historically shape-adapted foreign bodies into the space, with everyday materials. These materials offer an association spectrum, which, despite the new classification, creates access by recognition.
Furthermore, her works are bound to the specifications of the room. They are literally planted into the space; on site, for the space, into the space - firmly interwoven – making architecture part of the work and at the same time an adversary.
About the exhibited work
Rebekka Benzenberg's work plays with the status-power object fur, which stands for something luxurious, but also, in a contemporary way, for a clichéd femininity. But fur is also an object that is in change. Through animal rights activists, the view of fur is changing into something cruel and dead, opposed to life. Fur and its status are changing, as are the values it stands for. In the history of fur, the gender that wears it is constantly changing, but the image is still associated with prestige, power and status. The bleaching of the fur can be a reference to the industrialization of the western female beauty industry. The slogan " I like to watch" can be read provocatively in this context, but moreover it is also a quote from Chris Korda. In 2003, the single of the same name was released. To the song " I Like To Watch" appeared a controversial music video in which the images of the terrorist attacks of September 11, 2001 were cut together with pornographic material.
Tension - the allure of contraries, whether visible or invisible as well as the "inside", the "outside" and especially the "in between" is the focus of Rebekka Benzenberg.
What we consider humane is a normative regulation of social behavior, which isn't constant. The restrictions and ostracisms that these regulations cause are as variable as the basic idea they rely on.
Conventions, their symbols and codes are dynamic. Rebekka Benzenberg works with materials that stand and can be read as encodings for social and societal phenomena.
She mainly builds installation-like, amorphous or art-historically shape-adapted foreign bodies into the space, with everyday materials. These materials offer an association spectrum, which, despite the new classification, creates access by recognition.
Furthermore, her works are bound to the specifications of the room. They are literally planted into the space; on site, for the space, into the space - firmly interwoven – making architecture part of the work and at the same time an adversary.
About the exhibited work
Rebekka Benzenberg's work plays with the status-power object fur, which stands for something luxurious, but also, in a contemporary way, for a clichéd femininity. But fur is also an object that is in change. Through animal rights activists, the view of fur is changing into something cruel and dead, opposed to life. Fur and its status are changing, as are the values it stands for. In the history of fur, the gender that wears it is constantly changing, but the image is still associated with prestige, power and status. The bleaching of the fur can be a reference to the industrialization of the western female beauty industry. The slogan " I like to watch" can be read provocatively in this context, but moreover it is also a quote from Chris Korda. In 2003, the single of the same name was released. To the song " I Like To Watch" appeared a controversial music video in which the images of the terrorist attacks of September 11, 2001 were cut together with pornographic material.
