DEBORAH BOWMANN (BRUSSELS)
by Amaury Daurel and Victor Delestre
Chambre à coucher pour Homo sapiens sapiens takes shape as a holistic installation: a witness hotel room, shaped by and for the duo of representatives of Deborah Bowmann.
The bedroom, entirely refurbished and reappropriated by the artists, displays a variety of objects of different crafts that are both functional and non functional. These objects belong to the personal mythology of Deborah Bowmann while extending it; each visitor being welcome to reinterpret the narrative of the scene.
It is the fourth time that Deborah Bowmann designs and shows an entire bedroom, but for the first time it confronts personal furniture to new objects creating a context open of interpretation – in between the representation of a scene and a witness room. The two single size foldable beds have been designed in 2016 and used until 2019. They were initially installed in the basement underneath Deborah Bowmann Brussels gallery space, as a way to unofficially sleep and live there while being able to hide evidence if needed.
About Deborah Bowmann
Founded by artists Amaury Daurel and Victor Delestre, Deborah Bowmann is a fictional identity whose aspiration is to rethink the figure of the artist. Creating works and running an exhibition space under this same name, the duo articulates a sculptural practice and a closely related curatorial practice, promoting the development of alternative contexts and modes of creation.
Started in 2014 in Amsterdam and established in Brussels since 2015, Deborah Bowmann offers a renewed form of art total based on collaboration, where distinctions between the different participants are often blurred, embracing, challenging and merging the diverse activities of studio practice, project management, exhibition curation, and set designing.
Deborah Bowmann merges codes and aesthetics specific to sculpture and large retailers, bringing together tacit links existing between the world of art and that of commerce. The two artists make gestures of appropriation and distortion of these codes and aesthetics in their sculptural practice as well in their curatorial practice. From aesthetic vocabularies to economic systems, they manipulate these systems as materials to be reshaped and standards to be sculpted. Often working with the ideas of branding and promotional efforts, Deborah Bowmann produces sculptures that act as displays – that could regardless support their own work, other artist’s artwork or real products – but always making sense as a whole, challenging our preconceived ideas of autonomy of a work of art. As a reflection of their thinking, they question the traditional modes of production and exposure in relation to contemporary society and economic and ideological realities in a posture that is both critical and humorous.
Deborah Bowmann recent exhibitions include recent retrospective 'Grand Salon' at C.A.C. Passages, 'VG Awards 2019' at GEM Museum, '18th Prix Ricard' at Fondation Ricard, 'Concepts options et autres pantalons' at C.A.C. Embrun. Coming projects include the curation of Antwerps Art Weekend exhibition at De Studio, Antwerp.