Juliette Bonneviot (*1983, Paris, currently lives and works in Berlin) graduated from École des Beux-Arts de Paris. Her work has been recently exhibited at CCS Bard, Annandale-On-Hudson; Musée d’Art Moderne de la Ville de Paris, Paris; Nassauischer Kunstverein, Wiesbaden; Kunsthalle Fridericianum, Kassel; Glasgow International, Glasgow; UCCA, Beijing; Biennale de Lyon, Lyon; Utah Museum of Contemporary Art, Salt Lake City; Bergen Kunsthall, Bergen; Palais de Tokyo, Paris.
In Xenoestrogens, Bonneviot presents a series of surfaces created by a base of linen fabric, lacquers, epoxy resins, PVC, and silicone, bound with experimental mixtures of elements containing an array of xenoestrogens. These chemicals, both organic and artificially created, are found in everyday commodities like birth control pills, silicones, pesticides, detergents, lotions, shampoos, or beverage cans. They cause hormonal disruption and abnormalities in animal and human reproductive health. Beginning with this material as a core, Bonneviot spirals outward into many of the biological, cultural and philosophical implications of the nexus between ecology and gender.
The PET Woman sculptures are torsos of female bodies molded from plastic sheeting, as if protective layers for Renaissance casts. Bonneviot takes plastic as a material that is associated, on the one hand, with wipe-clean sanitation, and on the other, as a protective barrier for foods and other goods, to ensure their ‘purity’ for the consumer, regardless of how dirty or covered in insecticides or factory residue they actually are. Plastic has, mainly, a disposable use; Bonneviot, on the contrary, displays the torsos as if museum pieces or relics from life today.