In the project Control it, delete it Benjamin Francis loosely addresses the dissolving boundaries between the body and the object, as well as questions notions of authenticity, originality and value.

Within the performance members of the audience are invited to enter an anatomical theatre setting and lay on an autopsy table. On these tables they will be impersonating ‘dirty’artworks in need to be cleansed and deconstructed. Herein the artist is interested in how a participant's role can be shifted from active to silent, with the help of a performative component constituted by the act of (foot) washing.

While performing as art sculptures, the performers will present texts based on lyrics of funeral hymns. The lyrics are constructed through errors occurring in mistranslations to English and through disparities between English and non-English language hymns. Francis found this process of lyric-making significant as it questions meaning-making and authenticity. What does it mean for something to be original? When we think of mourning processes and discussions of death, we often insist on stressing the departed’s individuality, what makes them special, one of a kind. For Control it, delete it, Francis juxtaposes on the autopsy table the perception of authenticity encountered in mourning with the idea of art as a (non) object of originality.

Benjamin Francis & Matthieu La-Brossard
Billy Morgan & Logan Hon Mua
Make up: @zynwalanails
Wig and hair styling: @zynwalahair
​​​​​​​​​​​​​​Send me an email to see the video of this project

Closet of memories: 
I am interested in the mortuary because it is a space where bodies used to be dissected for the aim of sharing knowledge for the benefit of science. The closet with the whitened branches is a metaphor for the ideas that stored within our brain, but constantly are being corrected.
Photography: Maarten Nauw & Igor Zynwala

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