Monica Bonvicini
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Since the mid-1990s Monica Bonvicini has been exploring political, social, and institutional situations and their impact on society, as well as on the conditions of artistic production. Her work is direct, merciless, political, and not without a dry sense of humor. In the process, she focuses on the relationship between architecture, gender roles, control mechanisms, and devices of power.
– Axel Köhne, Curator, Belvedere 21
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WorksOpen a larger version of the following image in a popup:
Gisèle Freund | Virginia Woolf, London 1937 | Dye Transfer Print
Monica Bonvicini
Gasping, 20222 components lacquer, mirror, aluminum150 x 100 x 1.9 cm
59 x 39.4 x 0.7 inchesB-MBONVICINI-.24-0002Further images
'Gasping' is part of the series 'Doors' that consists of mirror works in which Monica Bonvicini continues to use language, poetry and space, rearticulating them under a taint feminism. The...'Gasping' is part of the series 'Doors' that consists of mirror works in which Monica Bonvicini continues to use language, poetry and space, rearticulating them under a taint feminism. The quotations the artist utilizes in her works are most often by female writers, in this case from the poem 'Sweet Heart' by Eileen Myles. The color of the mirrors originate from a portrait of Virgina Woolf by Gisèle Freund, taken in 1939. In it the writer is sitting on a chair, holding an open book in her lap with her left hand, and a cigarette in her right hand. In the background is an abstract mural by Vanessa Bell & Duncan Grant.
The series uses a complex technique of many layers of color that gives the effect of an almost wet surface. The reflection of the mirror is literally rendered similar to the effect of a tremble, the letters appear almost carved into the lubricious surface. The quotation revolves around a search for spaces full of possibilities, both pleasant and unpleasant.Publications
Monica Bonvicini: I Do You , edited by Joachim Jäger and Irina Hiebert Grun, Berlin 2023 (unpaged)
ExhibitionsExternal ExhibitionsPressPublicationsVideoAnd Rose – Monica Bonvicini's solo show at San Carlo Cremona
BiographyBorn 1965 in Venice, Italy
Lives and works in Berlin, Germany
Monica Bonvicini’s powerful and incisive practice challenges conventions of architecture, power, gender and authority, combining conceptual rigor with a striking visual and material language.
Her work is currently included in group exhibitions at MoMA PS1, New York; Große Kunstschau, Worpswede; and Hamburger Bahnhof, Berlin. She has held major solo exhibitions at institutions including Pinacoteca Agnelli, Lingotto, Turin; Neue Nationalgalerie, Berlin; Kunst Museum Winterthur; Kunsthaus Graz; Kunsthalle Bielefeld; Belvedere 21, Vienna; Baltic Centre for Contemporary Art, Gateshead; Deichtorhallen, Hamburg; among others.
Bonvicini’s practice is represented in the permanent collections, including those of The Museum of Modern Art, New York; Centre Pompidou, Paris; Museum Kunstpalast, Düsseldorf; Walker Art Center, Minneapolis; Istanbul Museum of Modern Art; Museo d’Arte Moderna di Bologna; MAXXI, Rome; Castello di Rivoli, Turin; Jumex Museum, Mexico City; Migros Museum für Gegenwartskunst, Zurich; Museion, Bolzano; Neue Galerie, Graz; Neue Nationalgalerie, Berlin; Hamburger Bahnhof, Berlin; Sammlung Hoffmann, Berlin; Museum Abteiberg, Mönchengladbach; Lenbachhaus, Munich; and Kunst Museum Winterthur.
Over the course of her career, Bonvicini has received numerous prestigious awards: the Oskar Kokoschka Prize in 2020; the Roland Prize for Art in Bremen in 2013; the Nationalgalerie Prize for Young Art in Berlin in 2005; and the Golden Lion at the Venice Biennale in 1999.
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