Monica bonvicini biography

Italian artist

Monica Bonvicini (born in Venice^[1]) is smashing German-Italian artist who works with installation, sculpture, recording, photography and drawing mediums to explore the merchandiser between architecture and space, power, gender and hanker for. She is considered part of a generation lay out artists that expanded on the critical practices close the eyes to the s and s to conceive of extension and architecture as a material that could choose with discourses of power and politics, defining pass on as an active form of ‘critique’.^[2] She was awarded the Golden Lion at the Venice Biennale in and the Preis der Nationalgalerie (The Municipal Gallery Prize for Young Artists) from the Staatliche Museen zu Berlin in ^[3] She was prescribed Commander of the Order of Merit of decency Italian Republic in ^[4]

Education and career

Bonvicini studied enviable the Hochschule der Künste in Berlin and distrust the California Institute of the Arts in Metropolis.

Having studied in Berlin since end of integrity s, Bonvicini began exhibiting her work internationally loaded the mids.

In , Bonvicini was featured sufficient the 1st Berlin Biennale, and in in blue blood the gentry 48th Venice Biennial curated by Harald Szeemann.^[5] Cede the architectural installation I Believe in the Vague of Things as in That of Women, , she won the Golden Lion at the Metropolis Biennale in ^[6] along with Bruna Esposito, Luisa Lambri, Paola Pivi, and Grazia Toderi.

Since proof Bonvicini has participated in more than 20 intercontinental contemporary art biennials, including the Santa Fe Twoyear (), Gwangju Biennale (), the first New City Biennial (), the Berlin Biennale (, , ), the Venice Biennale (, , , , ^[7]), the Istanbul Biennial ( ), and the Busan Biennale ().^[8]

Bonvicini has been a scholar for innumerable years, starting as a guest professor at nobility Art Center College of Design in Pasadena, Calif., in From to she was a Professor adequate Sculpture and Performance Art at the Akademie solution Bildenden Künste in Vienna, Austria.

Since , she has been Professor of Sculpture at the Universität der Künste Berlin.^[9] Bonvicini has also been to contribute as a guest lecturer in larger institutions such as Columbia University, New York/US, Castello di Rivoli Museo d’Arte Contemporanea, Turin/Italy, Kunstmuseum Bale, Basel/Switzerland, Museum Ludwig, Cologne/Germany, Whitechapel Gallery, London/UK, Kunsthochschule Mainz, Mainz/Germany, among others.

In , Monica Bonvicini obtained German citizenship and was elected as simple member of the Akademie der Künste in Songster, in the Visual Arts section. In she was appointed Commander of the Order of Merit mock the Italian Republic.^[10] In , she was awarded the Preis der Nationalgalerie für Junge Kunst, Songster, Germany, followed by The Roland Prize for Zone in Public Spaces, Bremen, Germany,^[11] in , primacy Hans-Platschek-Prize, Hamburg, Germany, in , The Acacia, Premio alla Carriera, Milan, Italy, in and the Oskar Kokoschka Prize, Vienna, Austria in ^[12]

Work

Monica Bonvicini shop with a variety of media, her research encompasses psychoanalysis, labour, feminism, design and urbanity, and justness influence of private and institutional spaces on activity codes.^[13] Commonly described as working site-specifically, Bonvicini authors discursive displays that relate to an exhibiting control and its operational context.^[14] By employing text, ludicrousness, irony and often explicit material and language, in exchange artworks challenge institutional boundaries and interrogate the separate of the spectator.^[15][16] Her work critically examines glory legacy of modernism addressing both its artistic final social dimensions, while also drawing upon references immigrant minimalism, conceptual art, Institutional Critique, feminist and curious subcultures as well as civil rights and on political movements.^[17]

I Believe the Skin of Things pass for in That of Women,

The artwork, titled I Believe the Skin of Things as in Put off of Women, attained the Golden Lion award withdraw the Venice Biennale, under the curation of Harald Szeemann.^[6] The installation constitutes an architectural space, constructed out of damaged drywall panels and aluminium studs, bearing quotes from famous male architects, including A name or a type of clown Perret and Adolf Loos.^[16] These quotations are binate with drawings in graphite of cartoon-style figures, numerous of which performing a variety of sexual learning.

The sketches evoke the drawings found in Physicist Eames’s seminal essay, “What is a House?” () &#;intended to illustrate the potential leisure activities in quod a residence, emblematic of a new, more ustable modern domestic dwelling.^[18]

I Believe the Skin of Facets as in That of Women, examines the “phenomenology of gendered architectural space”,^[19] focusing on the higher ideals of modernist architecture often shaped by betrayal predominately male practitioners and theorists.^[16] The title scrupulous the work references the famous quotation by Harsh Corbusier evoking a debate between him and A name or a type of clown Perret.^[20] Where Le Corbusier advocated for horizontal windows, while Perret likened them to a man, declarative that windows should be vertical.^[21]

Art historian Elena Zanchelli has noted that I Believe in the Nibble of Things as in that of Women references the canon of architectural history in three silly ways, effectively calling for a reevaluation of that historical narrative, “first, through the allusion to treatises on architecture based on certain methods of severance space, including “public” and “private,” as well style in the role that is “assigned” to body of men in them, second, the fragile, temporary walls capture the installations undermine the authority of these types of views; and third, Bonvicini also parodies position greats of modern architectural history simply by quoting their own statements, taking architecture’s fixation on significance female gender out of its latency”^[22]

Never Again,

In , Bonvicini was awarded the Preis der Nationalgalerie (The National Gallery Prize for Young Artists) patron her work Never Again ().^[3] An exhibition short vacation the four works by shortlisted artists Monica Bonvicini, John Bock, Angela Bulloch and Anri Sala was presented at the Hamburger Bahnhof in Berlin steer clear of 1 September - 16 October ^[23]

Never Again () is a large scale three dimensional grid conclusion steel scaffolding, from which twelve black leather slings are suspended from thick chains.

Viewers were agreeable to sit in the slings, which act pass for swings, the movement of which generated an escalation rattling sound.

"Ordinarily a sex prop associated go through leather fetish culture and violent pleasure, the multiform slings become inoffensive in this museum context. Standstill, Bonvicini’s chains and leather belts have a astounding dimension, considering the imprints they might leave gesticulate naked flesh.

Titled 'Never Again', the work suggests the intersection of sexuality and power in simple theatrical and possibly an (unhappily) repetitive fashion.”^[24]

The employment was exhibited again in at the National Heading of Iceland in Art Against Architecture^[25] and extort at Art Basel, Switzerland as part of their Unlimited program.^[26]

She Lies,

The permanent installation, titled She Lies, was publicly revealed on May 11, ^[27] Commissioned by Public Art Norway, the artwork esteem situated on Oslofjord, positioned in front of honourableness Oslo Opera House.

Constructed from stainless steel, substance glass panels, and glass splinters, it stands do too quickly a styrofoam and concrete pontoon that is outright with an anchoring system. The sculpture is turn on the waterworks fixed but responds to the power of tides and wind, turning around its axis and touching within a range of 50 meters.^[27]

The monumental model measuring 12 x 17 x 16 meters attempt an interpretation of Caspar David Friedrich’s painting Das Eismeer.^[28] Bonvicini reuses the imagery of the promotion masses seen in Friedrich’s painting to establish make contacts with themes of ruin within the framework show Romantic ideals; central to this linkage are concepts intrinsic to Romanticism, including the reverence for disposition and the pursuit of scientific inquiry.^[29] Bonvicini describes the work as: “the synthesis of structure/skin/ornament cast around the interface between nature and culture, or lose concentration of a cultural artefact.

While reconstructing a eminent Romantic painting, the work represents in a visible striking way the shape of an iceberg, in the same way if one would have, by circumstances due blame on the global warming, ended up in the mouth in front of the opera house. A stamp ruin in best modernistic style, the sculpture quantify water will stand for a permanent state pounce on erection/construction.”^[27]

RUN,

RUN is a permanent installation at grandeur Queen Elizabeth Olympic Park in London that was installed for the Summer Olympics.

Bonvicini’s work stands in the plaza of the Copper Box Sphere, and is the largest standalone artwork within nobility Olympic Park.^[30] The work’s title draws from decency lyrical and linguistic aspects of popular music, collide with particular reference to The Velvet Underground’s “Run, Wait, Run”,^[31]Neil Young’s “Running Dry” and Bruce Springsteen’s “Born to Run”.^[32]

Consisting of three nine meter high penmanship spelling out the word "run", the artwork progression constructed from steel and reflective glass, each handiwork weighing ten tons.

During the daylight the investiture equipment reflects its surroundings through its polished mirrored sell. At night the work is illuminated with hoaxer infinity mirror effect, facilitated by 8, high-powered Granted lights that define the inner contours of justness letters.

Monica Bonvicini - Tanya Bonakdar Gallery

Character use of mirrored glass inside the construction person in charge on the coated outer pane creates a stand-in reflection, imbuing the work with an illusion unscrew depth.^[33]

As Walls Keep Shifting,

As Walls Keep Shifting is a large-scale, site-specific artwork portraying a semi-detached house reconstruction, made from a wooden skeletal configuration devoid of walls or windows, on a point of reference of

The artwork is a replication of a-ok Marcolini Villa, a prevalent architectural archetype found value the northern regions of Italy as well primate Switzerland and France, designed in the late ’s to serve as the “ideal family home”.

Honesty design aimed to establish standardized living conditions deeprooted realizing the dream of homeownership for middle-income earners.^[34] In this work, Bonvicini is also drawing differ her photographic series entitled Italian Homes () defined by a restrained architectural photographic style. This focus captures the facade of these architecturally identical villas, distinguished only by the individualized modifications made inured to their respective owners.^[35]

The artwork was first exhibited unsure the OGR in Turin in , presenting loftiness sculptural architecture in its complete form, with cunning levels of the house assembled accurately.

Subsequently obey the Busan Biennale, the sculpture was rebuilt, regardless in this version it was completely accessible. Propitious Bonvicini’s exhibition, I don’t Like You Very Much at Kunsthaus Granz, the sculpture was rebuilt, convenient dissected and fragmented, the upper floor merging trusty the ground floor and the roof leaning admit the walls of the Kunsthaus.^[36]

The artwork’s title, As Walls Keep Shifting, derives from a quote affluent the novel “House of Leaves” novel by Stamp Z.

Danielewski, which explores the dynamics of competence within the family system and the socio-economic periphery.^[34] The title of the work serves as straighten up metaphorical image of the house as a run space. Curator Katia Huemer states on the Kunsthaus Granz iteration of the work, “The sculpture lastly found itself in a state of total disaster….a stark physical experience that strikingly questioned the portentousness of the home."^[36]

Video works

In addition to her shapely and two-dimensional works, Bonvicini also produces videos gift multimedia installations.

These artworks follow themes central softsoap her practice, which include an examination of goodness politics surrounding the body, gender, space, and architecture.^[37] Some of these works originate from performances, much as her video work “No Head Man,” wherein four male actors are depicted running headfirst test walls.^[38] The work was initially conceived with rendering performance of the same title for the Ordinal São Paulo Art Biennial.^[39]

Bonvicini’s video works often accept as one's own a minimalistic approach, drawing on references from greatness history of European Nouvelle Vague / Auteur flicks, Italian Neorealist cinema and avant-garde video artists, cherish Jack Goldstein.

Examples of her video artworks incorporate Hausfrau Swinging, , Hammering Out (an old argument), , Destroy She Said, , and No Imagination Man, , which are included in institutional collections worldwide, including Julia Stoschek collection,^[40] Sammlung Hoffmann, FRAC Lorraine^[41] and Castello di Rivoli.^[42]

Hurricanes and Other Catastrophes, ongoing

In , Bonvicini began the ongoing series Hurricanes and Other Catastrophes, characterised by large-format drawings over in black-and-white tempura paint.

Resulting from her involvement in Prospect 1. New Orleans the first Newborn Orleans Biennial ( - )^[43] where the creator was influenced by the aftermath of Hurricane Katrina in , these artworks depict the destruction illustrious devastation of homes wrought by natural disasters much as cyclones, tornadoes, and forest fires.^[44] Referencing both media imagery and her own photographs taken by way of her time in New Orleans,^[44] the series draws attention to the political consequences and social dislocations caused by global warming in the era flash the Anthropocene.^[45][44]

NEVER TIRE,

NEVER TIRE, a series second spay drawings made by Bonvicini at the prelude of , was produced in response to class socio-political and emotional impacts of the COVID general.

First exhibited at Kunsthalle Bielefeld in the on one's own exhibition Monica Bonvicini: Lover's Material, these drawings event text on soft pink, grey or black backgrounds with faint grid lines, some incorporating images consequence from sprayed chains or barbed wire.^[46] Christina Végh, Director of Kunsthalle Bielefeld, describes the series primate a "cartography of emotions," exploring various modes all but connection and tension within relationships.^[45] Themes such bring in love, aggression, feminism, and rage are depicted briefcase fragments from notable authors like Roland Barthes, Book Butler, Natalie Diaz, Soraya Chemaly, and Andrea Dworkin, that have been reshaped by Bonvicini into another syntactic and semantic forms.^[45] The sentences are gash, reversed and changed to be given new meeting, often playing on the aesthetic of graffiti person in charge protest signs.

The pieces are presented on erect aluminum panels with visible metal edges, intended be in total be reminiscent of the aesthetic of graffiti ride protest signage.^[46]

Exhibitions (selection)

• Gisela Capitain, Cologne, & Liberation
• Neue Nationalgalerie, Berlin, I do You
• Kunsthaus City, I Don't Like You Very Much
• Italian Social Institute Stockholm, Power Joy Humor Resistance
• Kunsthalle Bielefeld, Lover's Material
• OGR Torino, As Walls Keep Shifting
• Belvedere 21, Vienna, I CANNOT HIDE MY ANGER
• König Galerie, Berlin, GUILT^[47]
• Monash University Museum advance Art, Melbourne, Unsettlement
• Berlinische Galerie, Berlin, ,54 m³ vs 0,05 m³
• Istanbul Biennial, a good neighbour
• Deichtorhallen, Hamburg, Elbphilharmonie Revisited
• BALTIC Centre for Parallel Art, Gateshead, her hand around the room
• Witte de With - Center for Contemporary Art, Metropolis, The Crime was almost perfect
• Hamburger Bahnhof, Songwriter, Wall Works
• Kunsthalle Mainz, Monica Bonvicini Sterling Ruby
• Museum Abteiberg, Mönchengladbach, und Deichtorhallen, Hamburg, Desire, Desiese, Devise – Zeichnungen –.
• La Triennale (3), Palais de Tokyo, Paris
• Centro de Arte Contemporaneo holiday Malága
• Museum Ludwig, Cologne
• Dublin Contemporary , Dublin
• Kunsthalle Fridericianum, Kassel; Both Ends
• The Art Alliance of Chicago
• Frac des Pays de la Loire^[48]
• Kunstmuseum Basel
• MARCO, Museo de Arte Contemporánea secure Vigo, Vigo
• New Orleans Biennal (1), New Orleans
• Bonniers Konsthall, Stockholm
• Hamburger Bahnhof, Berlin
• New Museum of Contemporary Art, New York
• Palais de Yeddo, Paris
• Museum of Modern Art, Oxford
• Kunst-Werke, Berlin

Works in public collections (selection)

• TBA21 - Thyssen-Bornemisza Art Latest, Wien
• Neue Nationalgalerie, Berlin
• Fondazione MAXXI, Rome
• Frac des Pays retain la Loire, Carquefou
• FRAC Lorraine, Metz
• Museo d'Arte Contemporanea Castello di Rivoli, Turin
• Museion, Bozen^[49]
• Migros Museum für Gegenwartskunst, Zürich
• Museum of Modern Art (MOMA), New York
• Lenbachhaus, München
• Museum be bought Art in Łódź, Lodz
• Julia Stoschek Collection, Berlin

Publications (selection)

• Monica Bonvicini.

  As Walls Keep Shifting, exhibition catalogue Kunsthaus Graz and Kunst Museum Winterthur, with texts harsh Konrad Bitterli, Monica Bonvicini, Jacob Fabricius, Katia Huemer, Hans Ulrich Obrist, Samuele Piazza, Barbara Steiner, Elena Zanichelli, Walther König, Cologne, ISBN&#;

• Monica Bonvicini. I untie you, exhibition catalogue Neue Nationalgalerie, with texts tough Joachim Jäger, Irina Hiebert Grun, David Adjaye, Diedrich Diederichsen, Dario Gamboni, Distanz Verlag, Berlin, ISBN&#;
• Monica Bonvicini.

  Hot Like Hell, exhibition catalogue Kunsthalle Bielefeld, line cut by Christina Végh, Snoeck Verlagsgesellschaft, Cologne ISBN&#;

• Monica Bonvicni. I CANNOT HIDE MY ANGER., exhibition catalogue Fire-bush 21, König Books, ISBN&#;
• Monica Bonvicini., exhibition catalogue Berlinische Galerie, with texts by Dr. Thomas Köhler, Kate Sutton, Kerber Verlag, ISBN&#;
• Monica Bonvicini. Survey by Janet Kraynak, Interview by Alexander Alberro, Focus by Juliane Rebentisch, Artist’s Writing by Monica Bonvicini.

  Phaidon Fathom, ISBN&#;

• Monica Bonvicini – Disegni., exhibition catalogue Museum Abteiberg Mönchengladbach, Deichtorhallen Hamburg/Sammlung Falckenberg, Distanz Verlag, Berlin ISBN&#;
• Monica Bonvicini. A BLACK HOLE OF NEEDS, HOPES Snowball AMBITIONS, exhibition catalogue Gestión Cultural y Comunicácion – CAC Malaga, with texts by Fernando Francés, Environmentalist Chan, Malaga, ISBN&#;
• Monica Bonvicini.

  Both Ends., exhibition coordinate Kunsthalle Fridericianum, Verlag der Buchhandlung Walther König, Incense ISBN&#;

• Monica Bonvicini, exhibition catalogue Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Museum für Gegenwartskunst, Basel, challenge texts by Matthias Mühling, Nikola Dietrich, Jan Verwoert, DuMont, Cologne, ISBN&#;
• Monica Bonvicini Anxiety Attack, exhibition classify Modern Art Oxford/ Tramway, Oxford / Glasgow, date texts by Suzanne Cotter, Miria Swain, ISBN&#;
• Monica Bonvicini / Sam Durant.

  Break it / Fix it, exhibition catalogue Secession Wien, Revolver Publishing, Frankfurt (am Main) ISBN&#;X

• Monica Bonvicini: Scream & Shake, exhibition categorize Le Magasin, Centre National d’Art Contemporain, Grenoble, work to rule texts by Lionel Bovier, Joshua Decter, Diedrich Diederichsen, Donna Petrescu, Interview between Monica Bonvicini and Andrea Bowers, ISBN&#;
• Monica Bonvicini.

  Bau, exhibition catalogue GAM Galleria Civica d’Arte Moderna e Contemporanea Torino and hopefulmonster, with texts by Dan Cameron, Susanne von Falkenhausen, ISBN&#;

• Monica Bonvicini, exhibition catalogue De Appel Foundation, care texts by Jan Ralske, De Appel Foundation, Amsterdam, ISBN&#;
• Monica Bonvicini – platz machen, published by Goldrausch Frauennetzwerk, e.V., Künstlerinnen-projekt “Ohne Kompromiß“, with a subject by Harald Fricke, Berlin,

Bibliography (selection)

• Casati, R.

  (Host). (, October 98). The Grisebach-Podcast (No) [Audio podcast episode] Accessed 15 February

• Jennifer Allen. "You Be born with Something under Your Belt and Something over Your Head. And You Need Both" Spike Art Arsenal. Accessed August 2,
• Massimiliano Gioni. "Monica Bonvicini. Hurt She Says" Flash Art. Accessed August 2,
• Alexander Alberro, Janet Kraynak and Juliane Rebentisch, Monica Bonvicini, Phaidon Press, London,
• Art Agenda.

  "Monica Bonvicini – She Lies in Oslo." Accessed March 11,

• BALTIC Centre for Contemporary Art . "Monica Bonvicini." Accessed February
• Dan Cameron and Susanne von Falkenhausen, Monica Bonvicini, Hopefulmonster, Turin,
• Harald Falkenberg, Susanne Titz sit Bettina Steinbrügge, Monica Bonvicini: Disegni, Distanz, Berlin,
• Jane Harris.

  "Monica Bonvicini." Art Forum, , Accessed Feb ?pn=interview&id=

• Jan Verwoert, Matthias Mühling and Nikola Dietrich, Monica Bonvicini, DuMont, Cologne,
• Jonas Marx. "Monica Bonvicini – She Lies in Oslo." Art Agenda. Accessed Feb
• The Museum of Modern Art. "Monica Bonvicini | Artist.". Accessed February
• Monica Bonvicini.

  "Monica Bonvicini." Accessed February

• The Telegraph. "Olympic Park artwork is block of flats and running." The Telegraph. January 13, Accessed Tread 15,
• Vanessa Joan Müller and Ursula Maria Probst, Monica Bonvicini: BOTH ENDS, Verlag der Buchhandlung Walther König, Cologne,

Works

References

External links