Artists Support

One of Benjamin Lallier's most recent works in velvet

Sodom and Gomorrah Afire (2024) is one of Lallier's newest works using the sun bleaching technique he has discovered and been improving over the last few years. Measuring 230 x 300 cm, this is his largest yet using the innovative method.

Mathematician Reda Boumasmoud and Benjamin Lallier on the act, value and language of giving.

REDAMy mathematics is a quiet, austere pursuit, set apart from common notions of beauty or art. It seeks neither admiration nor comfort; rather, it invites the mathematician in me into solitude, where thoughts emerge and vanish like fleeting stars, rarely finding form. This is a realm without clarity or completion, a space where half-formed ideas and intuitions flicker briefly before dissolving, leaving only fragments of what could have been.

To practise mathematics is to wander through a landscape where answers are scarce and the path uncertain, guided by a fragile intuition that yields only moments of insight, often slipping away before they can be captured. Mathematics resists naming, defies satisfaction, and offers no finality. It is not an art to be admired or understood but a process of witnessing—a confrontation with the very limits of thought, where each insight trembles on the edge of disappearance.

At the heart of a mathematician’s life lies a quiet tension, a pull between the solitary depths of thought and the longing to share something of the insights glimpsed within. Each revelation arrives like a flash of clarity—ephemeral, private, a brief illumination that fades almost as quickly as it comes. When we attempt to bring these moments into the world, they are already diminished, reduced to fragments and faint echoes of what once felt whole. Yet, in surrendering these fragments—these fleeting glimpses of our innermost being—we lay bare an almost unnameable vulnerability, an insistent longing to transcend the solitude of thought, to etch ourselves, however faintly, into the fabric of existence. It is as if, in the act of giving, we might finally touch upon the elusive promise of being seen, of enduring, of simply being.

BENJAMIN The thing with Art, that I understood a long time ago, is that I am not doing it for myself. I would love to feed my ego by saying that I am, but it wouldn't make sense. I have that deep feeling that what I do is activated only by others’ emotions. And it’s not about validation but more that I need people to make it real and alive. What I am doing is about humans, people, and others. I remove absolutely all the personal focus from what I do.

The act of thinking is indeed a lonely road and finding something seems to be magical only until I realise that it isn’t. Then I take that road again. And I’ve learned to get lost. And I’ve learned to love it. It is discipline and it is pain. But what kind of pain compared to real pain Life is offering on a daily basis, right? The activation by others probably resides in the fact that they might be able to feel and reflect.

Reflecting and reflection is at the centre of the experience of what I am trying to do.

Commedia dell’Arte you said? Looking then thinking then looking again then feeling. There is no right or wrong here. No proof or demonstrations. Just primal feelings that are coming from deep inside, going deep inside and going back again. It’s the highway of emotions. Or at least a road. But leaving your solitude (except the mouse, the eagle and some other little companions) to go back to reality to bring some emotions? That is maybe the best road to solitude again. For the Mathematician and the Artist.

REDA AND BENJAMINUltimately, we have both come to see giving as the ultimate form of remembrance, a testament to being human. This conversation will centre on Benjamin’s act of giving, on the ways in which we let go, surrendering what is most intimate.

REDAThe act of creation is intimate, yet in offering it to others, it takes on a life beyond the artist. Does the art then shift its essence, no longer tied to personal meaning but reborn as a shared legacy? This act asks if true art transcends ownership, transforming into something richer, where each viewer or beneficiary becomes part-owner and part-caretaker of its soul. How do you experience the idea of 'letting go' of a creation? When you offer a piece of yourself to the world in the name of charity, does your relationship with that creation evolve?

BENJAMIN Letting go of a piece is an act I really love to experience—only a few months after being done with the piece and accepting its final form. Then I absolutely love seeing it go on to have a new sort of life and interaction with others. The gratuity of giving is the least I can do. I just stand here, doing what I might be good at, and that’s it.

REDA When you witness your art taking on new forms of meaning through others, does it feel like it still belongs to you in some way, or has it truly become part of those who encounter it?

BENJAMIN I believe it's a mix. I see the work as a vector to higher meanings. But once again I like at the same time when my work is just considered for what it is. A tree is a tree, a grass field is a grass field and a portrait is a portrait. Up to everyone to go wherever they want/need.

REDA Creation can be seen as an act of gratuity—a gift to existence itself. Even when an artist holds no explicit charitable intention, isn’t the artwork, by virtue of its creation, already a contribution? Is there an inherent generosity in art, even when no charity is involved? And in giving art directly to support a cause, does this generosity gain a deeper significance?

BenjaminThe gratuity of giving is the least I can do. I just stand here doing what I might be good at, and that’s it. If I don’t give back to whoever needs it more than I do, what’s the point? I don’t really value generosity. It’s an overrated act, and people often give much less than they could while making a big thing out of it. I am generous. But I have nothing.

I have the possibility here to give what I do, and it might help others to do more as well. That’s all. Nothing glorious here. It’s a free gesture and the very least I could do, I feel. Without others, my art is nothing. It really has to provoke something somewhere, or it’s useless.

RedaYou say generosity is overrated, yet isn't there a subtle kind of generosity in admitting that we have nothing to give but ourselves? Could that honesty, even humility, be a form of gift in itself?

BenjaminI give all I have to my work. Nothing more nothing less. That's all I have to offer. My brain and my time. The rest doesn't really exist. Spending years getting lost makes you a different person. I don’t know if it’s humility but there’s definitely something that connects you to others. You cannot look at Life the same way you did before. It’s technically impossible.

Installation views from THE CAT LOVES THE MOUSE, THE MOUSE HATES THE CAT at Heidi, Berlin, 2022

For Lallier's solo show at his Berlin gallery, the artist presented velvet works featuring porn-star turned actress Chloe Cherry in an array of dimensions and settings. Some icon-sized works were installed on the gallery's columns, while larger works had a bench in front of them, offering viewers one-on-one time with the young but larger than life superstar.

RedaTo create is already to give, but to give art without the promise of return is a deeper expression of selflessness. Such a gift raises an existential question: does art given freely embody a sacred transaction with the universe, one in which the artist seeks neither fame nor fortune but something purer? Perhaps it is in this act that art transcends ego and connects with something timeless, becoming both a personal gesture and a universal offering. What does it mean to create without any expectation of return? Does this selfless act touch upon something profound within us, perhaps approaching a spiritual or existential truth?

BenjaminI’m not sure about that. If it brings something positive to someone, that’s already something magical. There is humility in what I do and I have a very deep love for humanity and its grey zones. Humans are what I think about constantly. Daydreaming characters under a tree lying in an intense green grass field is my reality these days. It’s open to interpretation, and that’s what it’s about. That’s what matters. Perhaps it’s about opening small doors in some minds, and that’s enough. Popular culture built me—middle ages peasants, modern vulgar heroes—they all feed me. They are me. Once again, from the people to the people. I am only a vector.

RedaHow does it feel to see a technique you've honed for years suddenly take on a public life in such a setting?

BenjaminIt is special. I’ve learned patience in my life. Some people could testify. Through this process bleaching velvet especially. Took 3 years to understand how to make this technique work perfectly, then each year I have to wait for the month of June to install the pieces on my studio’s floor, then another 3 months for the process to be completed. And if I am unlucky I have to wait another 9 months before being able to try again. It is what it is and I’ve accepted it. I made peace with time. And when people understand how it’s made and the magic behind it I can see that there’s a switch in their brain.

RedaAn artist lives within the pulse of society, perceiving its joys and sorrows and often reflecting them in creation. In gifting art to a cause, you may be affirming that the artist’s role transcends the personal, responding instead to the needs of the collective. This responsibility may echo an ancient role, where the artist served as a guide, healing and inspiring in response to the community’s condition. Do you feel, Benjamin, that in giving art to charity, there is an obligation for the artist to respond to society’s needs? Is this a reflection of our times, and is it part of the artist's calling?

BenjaminNot for me, no. I might transcend that feeling of being special with a very basic gesture, coming back to what is important as a human. I have the opportunity to give a little, and I am doing it. Nothing more special than that. I agree that society always uses art and culture as a vector for reaching higher. Thinking, loving, daydreaming, reflecting, opening perspectives, and accepting others is what seems important to connect with through those vectors. I wish I could just bring some of those elements to others.

RedaArt communicates without words, often touching parts of us that language cannot reach. Gifting art to a cause communicates a message of kindness, empathy, and hope—a silent testament to shared humanity. This unspoken language of art might connect artist and viewer in a shared moment of understanding, bridging differences and celebrating common values without a single word spoken. Benjamin, could we say that art speaks a silent language of empathy? Might the act of giving this art carry a message of hope and compassion that words could never convey?

BenjaminAbsolutely. Empathy is what is very much needed in a world where people are scared of what is different, even though we have access to almost all the knowledge in the world. This is a challenging question for me. I grew up with incredibly intelligent and accepting parents. Not everyone was like that where I’m from. I had to move to New York to grow as an adult, to truly understand empathy. I worked hard on myself. Worked hard to understand others. And today, my work is just about that. The others. All of us. I don't really know what more I could say now. I just try to keep my level of hope high. And work again. Even sometimes I feel like Guston’s painter in his bed, not knowing what to do. So, I paint.

RedaEmpathy, it seems, reveals our most vulnerable selves, opening a doorway to that shadowed part of our nature where the fear of oblivion lies dormant. In this impulse, Ben, your wish to be remembered may reflect not so much a craving for fame as a more universal longing—a desire that transcends vanity, one that echoes through the lives we touch in ways unnamed. Isn’t this perhaps our truest fear—that we might disappear without leaving behind the warmth of something lasting?

Is there not, in the act of giving, a form of love that reaches beyond time itself? This giving, pure in its ingratitude, does not secure us a place in history, nor make us immortal through monuments, but instead it plants a fragile, persistent memory in the hearts of others—a memory unmarked by our name, free of possessive vanity. Proust might have said that our lives, in their deepest essence, remain in others as a quiet fragrance—a presence that returns unbidden, like a long-forgotten scent.

Benjamin Lallier is represented by Heidi, Berlin

Benjamin Lallier, Proto Hardcore Social Misconduct 1 and 4, both 2022

Three of Benjamin Lallier's works on stretched tarpulin were exhibited at Heidi, Berlin, in a two-person show with Christophe De Rohan Chabot.

We spoke to XENION's Vanessa Höse about social integration, trauma support and guardianship programs for unaccompanied minors.

ARTISTS SUPPORT I want to start by asking you about the current political situation in Germany, and how it affects refugees.

VANESSA HÖSE Both the political situation and societal situation have hard consequences for migrants and refugees. The political discourse is turning to the right, meaning more restrictions on asylum seekers and fewer options for refugees. This has a direct impact on our clients’ lives. They are confronted with racism more often these days and experience greater pressure and less safety.

But we've also seen an increase in people that want to volunteer, that want to help refugees settle here in Germany, and that want to speak up for their rights. Finding funding has become much more difficult recently; this is not new, our work has always been difficult, but at the moment it's more and more urgent to find donations.

ARTISTS SUPPORT Where do you get your funding?

VANESSA HÖSE Part of our funding comes from private donors and foundations. But the majority of our funding comes from the Berlin Senate, Berlin districts and from EU and federal funds. With these we can provide psychosocial services to particularly vulnerable refugees that are not (or not sufficiently) cared for by the health or social system. This funding is often restrictive and can only be used to support people that are in the asylum process. Meaning that a donation like Benjamin's, which is unrestricted, is really important because so many people that come to us for help are not in the official asylum process.

ARTISTS SUPPORT Can walk us through the various services that you offer?

VANESSA HÖSEOne of our main activities is providing psychological trauma therapy and short term intervention for adults and children. We also offer counseling on housing, which is a huge topic in Berlin because refugees often live in very cramped living quarters, sometimes with thousands of others under one roof. We help people set up their life in Germany, we support them with their asylum paperwork, offer youth counseling and we have volunteers that mentor adults. Our volunteers will plan social activities with our clients but then also help them write and translate official letters connected to their asylum process. For unaccompanied minors, we also provide individual private guardianships.

ARTISTS SUPPORT I am really curious about these guardianships for minors. How are the guardians trained? How are they prepared to take responsibility for a child or young adult?

VANESSA HÖSE To become a guardian, there are five mandatory training courses on the legal aspects of guardianship and the asylum system, youth welfare, voluntary support and child protection. Once these have been completed, we then look for suitable matches. XENION remains present throughout the guardianship until the minor turns 18. We remain the point of contact for legal issues and social conflicts and we also provide further training courses on relevant topics.

ARTISTS SUPPORT Does the minor live with the guardian?

VANESSA HÖSE No, no, unaccompanied minors live in special housing with social workers. But as a minor in Germany you need an adult to begin the asylum process. Guardians will help minors find schooling, talk to their teachers if there's a problem and be the go-to person to navigate everyday life. Guardians accompany minors legally, but they are also there to provide social support. However, the psychological protective shield that guardians hold over minors is also particularly important, especially when they experience racist hostility or marginalization.

An official guardian provided by the city of Berlin has up to 50 minors under their care, we offer one-on-one guardianship.

ARTISTS SUPPORT And how many guardians do you have for minors?

VANESSA HÖSE Last year we had more than 100 voluntary guardianships.

ARTISTS SUPPORTThat's fantastic. And with regards to the psychosocial support and therapies that you're providing, does that all happen in one building and with a team of full time staff members?

VANESSA HÖSE We have two hubs, one in Stieglitz, and one in Kreuzberg. One of these is a center for adults and families, and the other one for minors only. But we all work together. For example, if a client is in trauma therapy but is having problems finding housing, their therapist will refer them to our housing team. We have nearly 70 paid staff members--not all full time--and many volunteers.

ARTISTS SUPPORTAnd do you have any programs to help migrants integrate into the city?

VANESSA HÖSE Yes, we have groups led by a therapist or social worker that will plan excursions in Berlin to discover the city or visit museums. This is also a great way for our clients to connect with one another. We've had one group for many years for minors from Afghanistan, who came here alone and who are under a lot of stress as they’re usually also caring for their parents back in Afghanistan. They always meet in the same room in our hub and invite speakers in, to talk for example about job opportunities.

ARTISTS SUPPORT And how do people find out about your organization and the groups and therapies you offer?

VANESSA HÖSE Mostly word of mouth. We've been active since 1986 so we are well known in Berlin. We're also well connected to official institutions as well as to other non-governmental organizations, lawyers and housing projects.

We have a long waiting list, especially for clients needing psychological care.

ARTISTS SUPPORT You must work with many translators.

VANESSA HÖSE We work with translators in over 40 languages. We have five translators who are employed full time, and a pool of translators who can come when needed.

ARTISTS SUPPORT It sounds like you're serving a huge number of people.

VANESSA HÖSE Last year we had over 2800 clients. Some come in for long term therapy and others just once when they are in severe need.

ARTISTS SUPPORT And what can you tell me about the organization's plans going forward?

VANESSA HÖSE Most importantly we want to maintain what we are already doing. More and more people are coming in traumatized. More and more people are experiencing violence at the European borders and when crossing the Mediterranean. They are now installing refugee centers on the borders, which will be like prisons, so people will enter Germany in much more dangerous and difficult ways.

The German government is cutting funding for refugees and so we are expecting people to have more psychological trauma and stress on arrival, and worse problems when they settle here. We have to prepare for this now.

Benjamin Lallier's untitled leather sofas (2023)

Lallier's sculptures were included in ‘Crumbling the Antiseptic Beauty’, 2024, at Fondation Pernod Ricard, Paris. Alongside works by Clémentine Adou, Marie Angeletti, Grichka Commaret, Guillaume Dénervaud, Pascal Doury, Garance Früh, Gabriele Garavaglia, Isa Genzken, Morag Keil, Mélody Lu, James Richards and Pascale Theodoly.