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Bianco Ordinario

Helene Bellenger

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Launched in the summer of 2021, Hélène Bellenger’s Bianco Ordinario project is rooted in the marble quarries of Carrara, in Italy’s Apuan Alps. Renowned for centuries for their white marble, in high demand among artists and designers, these quarries are now overexploited to produce marble powder — pure calcium carbonate. Among other things, marble powder is used in toothpaste, make-up, paper or cleaning products, making it an integral part of the history of «whitening» and, by extension, of Western visual culture’s whiteness.

Hélène Bellenger has started a collection of cardboard packaging, using the back to print out artworks. Statuary’s luxurious and imperial aesthetics, usually associated with marble, are thus reduced to a small piece of printed package. Fragile, precious and unique, but also ephemeral and disposable, these images, whose shapes change according to the product, offer a typology of industrial forms, while also presenting selected images of the landscapes that intensive exploitation of Carrara marble has disfigured. 

The theme of alteration echoes through this project, which deals both with landscapes disfigured by the intensive extraction of Carrara marble and with the creativity of the images printed on cardboard packaging. The creative process’s serial and random nature takes the image out of its traditionally square format, presenting instead truncated and altered images, with unexpected framing and sometimes damaged shapes, and colours that are subject to the variations in the cardboard and its texture

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The Artist
Helene Bellenger
Nominated in
2024
By
Centre photographique Rouen Normandie
Lives and Works in
If Hélène Bellenger's work could be associated with a single tool, it would not be a camera, but one of those fine, precise instruments of the forensic scientist, so diligent is the artist in dissecting the workings of an imagery of perfect beauty and its artificial paradises. Preferring the act of collecting and transforming to that of shooting, she approaches images that are inert and out of use. For the Dazzled project, she collected a series of faces on the internet that had been obliterated by a flash of light - the now famous form of the selfie with the flash in the mirror - forming a kind of digital sun that contaminates the image and prevents the portrait. Another collection is that of advertisements for anxiolytics and antidepressants taken from specialist magazines, which she assembles into a frieze to display the litany of tense faces and slogans in the form of injunctions to happiness. Earlier, in Right color, she diverted a collection of magazines, posters and photograms from reels of films featuring actresses from the 1920s to the 1950s, reviving the make-up that was applied to them to reconstruct their faces and modify their plasticity for the black-and-white screen of the time. With her recent Bianco ordinario, her torsos of Apollo and busts of Venus, she continues her archaeology of the canons of beauty. Through a play of superimposed forms and supports, she links the geological time of the Carrara marble quarries, its extraction in Antiquity for sculpture, and today's massive extraction of marble powder to whiten the packaging of our cosmetics and cleaning products. The ensemble consists of a collection of unfolded packaging cartons on which the artist prints images of antique busts and quarry landscapes. In turn, the images themselves will be extracted from their support by the acidity of the marble powder contained in the cardboard, washing them ‘whiter than white’. The history and fortunes of the Western concept of whiteness are at the heart of the work the artist is currently developing in the Mediterranean basin.Hélène Bellenger (1989) lives and works between Marseille and Paris. After studying law and art history, she specialised in photography and graduated from the École Nationale Supérieure de la Photographie d'Arles in 2016. Bianco Ordinario was supported by Aide à la Création 2021 from the Drac PACA and produced at the Centre Photographique Ile-de-France as part of the 2022-2023 research and post-production residency.The artist would like to thank Isabelle Carta, Roland Carta, Centre Photographique d'Ile-de-France, Nathalie Giraudeau, galerie Marguerite Milin and Francesco Bi‍
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