Lucienne's preoccupation with mundane, everyday objects and archival processes guide her project at BAR: a series of conversations with contemporary Lebanese artists, and the creation of an obscure index of objects. Sequentially exchanging an object with each artist she encounters, but with no full record of their individual conversations, the objects will become mnemonic devices for these encounters; accidental markers in an entangled map of exchanges.


Lucienne Bestall

Dates of residency: Nov 1- Dec 15, 2015
Born: 1992
Lives and works: Cape Town, South Africa
Education: BA Fine Art, The University of Cape Town, 2015
BIO/ STATEMENT: Lucienne Pallas Bestall’s practice is preoccupied with quotidian objects; with the transparent stuff of everyday, the banal and mundane. Shifting these objects into an artistic framework, she approaches them with a particular attentiveness, activating alternative considerations. Removed from their utility, the objects and their histories become visible for contemplation, and provoke new associations.

Her consideration of familiar objects follows the trajectory of Walter Benjamin in his seminal text, Paris, Capital of the Nineteenth Century (1935), where each familiar object is a vessel of inescapable referents, a mnemonic mechanism of collective associations. As such, an object is not only an index of human labour (as Marx maintained) but a site of multiple histories “congealed there together: a history of production but also of circulation and consumption and use, thus also a history of collective fascination, apprehension, aspiration.”

Lucienne’s recent group shows and interventions include Conceptual Art for Consumers with Sharné MacDonald (Cape Town, 2015), Proposal (Cape Town, 2015), Sasol New Signatures (Pretoria, 2014), Cubicle (Cape Town, 2014), Bazaar III (Cape Town, 2014), and Lemonade Summer Sale (Cape Town, 2013). This is her first residency.