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Ben Clement and Sebastian de la Cour have been working together since 2006 as the British/Danish artist duo ‘benandsebastian’.  They have exhibited internationally during that time in museums and institutions in New York, Copenhagen, London and Berlin.


benandsebastian are interested in how meaning is embedded in spaces and objects in conditions of absence. Their intricate and highly-crafted installations have inbuilt gaps and are often on the verge of collapse. Whether taking the form of architectural fragments, mechanical theatres or living artefacts, their works relate to the idea of a body that is incomplete and vying with its own phantoms. In their recent work they have pursued the potential of absence, gaps, incompletion and anomaly within the context of several museum collections, in a form of materialised institutional critique.


‘The work of the collaborative artist practice, benandsebastian, teeters on a cusp between designed physicality and intangible theories of the mind. Trained in architecture and theoretically versed, their sculptures take on elaborate mechanics and boast intricate detailing, yet speak to vast philosophical and sociological systems. It is impossible to concretely anchor their work, an elusiveness made evident in their recent exhibition at the Designmuseum Danmark, ‘Phantom Limbs’. Embedded directly within the permanent collection and specifically paired with unexpected inventory from Copenhagen’s Medical Museum, National Museum and the attics of Designmuseum Danmark, their work becomes not only the sculptures on display, but the myriad relationships made between context and object, between body and limb.'

Cassandra Edlefsen Lasch, independent curator, DAMn magazine, issue 33







“对二人艺术组合Benandsebastian的作品, 我们可以提出如此的评价:它徘徊在设计过的实体性与心灵的无形理论之间。此二人组合的成员都受过正式的建筑学培训并且精通于艺术理论。他们大部分的雕塑作品都具有一种机械性,又包含极其精致的细节,同时这些作品也涉及到宏大的哲学以及社会学体系。由于Benandsebastian的作品题材颇为广泛而难以捉摸,作为观众我们比较难以确定他们在整个艺术语境中位于何处。他们的作品之所以如此捉摸不定,在他们近期在丹麦设计博物馆举办的展览《幻肢》里也充分显现:其原创展品被嵌入美术馆现有的固定收藏之中,与意外出现的哥本哈根医学博物馆、丹麦国立博物馆以及丹麦设计博物馆藏品一并展出。这些作品远远多于眼下所展出的雕塑,甚至作为种种在语境和藏品、身体和肢体之间产生出来的关系。


Cassandra Edlefsen Lasch,


Museum of Nothing, 2014-15

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