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Even A Worm Will Turn, Lauryn Youden’s solo exhibition at Number 1 Main Road, Berlin navigates the sterile surfaces of the medical-industrial complex and modernist architecture, exposing the latent violence they inflict on chronically ill and disabled lives. The show centers around a series of ornate wall sculptures reminiscent of oversized prize ribbons, made from trampolines—the same kind once prescribed to Youden as a “misguided” cure for chronic pain. Emblematic of bodily capitalist regimes, these trampolines inherit Le Corbusier’s vision of the home as a machine for living: a paradigm that reduces domestic space to a site of regulation and exclusion, where sick and disabled bodies are unwelcome. Even the mundane is complicit; its supposed neutrality conceals architectures of control and erasure. Youden renders the trampolines inoperable: their legs truncated, stripped of function, with surfaces adorned by bows, fabric patches, and intimate detritus. They become portals into queer…
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Even A Worm Will Turn, Lauryn Youden’s solo exhibition at Number 1 Main Road, Berlin navigates the sterile surfaces of the medical-industrial complex and modernist architecture, exposing the latent violence they inflict on chronically ill and disabled lives. The show centers around a series of ornate wall sculptures reminiscent of oversized prize ribbons, made from trampolines—the same kind once prescribed to Youden as a “misguided” cure for chronic pain. Emblematic of bodily capitalist regimes, these trampolines inherit Le Corbusier’s vision of the home as a machine for living: a paradigm that reduces domestic space to a site of regulation and exclusion, where sick and disabled bodies are unwelcome. Even the mundane is complicit; its supposed neutrality conceals architectures of control and erasure. Youden renders the trampolines inoperable: their legs truncated, stripped of function, with surfaces adorned by bows, fabric patches, and intimate detritus. They become portals into queer…
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