+ Jan Kaps
Like the CsO, her sculptures should be perceived as structures endowed with their own autonomy when it comes to the modalities of their existence, appearance, and organization, while struggling with the implacable social reality they represent within the privileged space of the art gallery. The “threshold” that is made visible from this confrontation is the one of a human condition that is not just a matter of biological traits common to human species, but rather a regime of political différance (9) aiming to limit the biological existence of disabled and precarious lives to areas of exception, away from dominant political debates. Bearing happily the contradictions of any work of art, the repulsive and yet familiar works of Berenice Olmedo are ultimately an invitation to share vulnerability as the unsurpassable foundation of our humanity.
Dorothée Dupuis
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