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Ph: Simon Vogel
Ph: Simon Vogel
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Ph: Simon Vogel
Ph: Simon Vogel
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Ph: Simon Vogel
Ph: Simon Vogel
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Ph: Simon Vogel
Ph: Simon Vogel
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Installation view, Monica Bonvicini, & Liberation, Galerie Gisela Capitain Petzel, Cologne, 2024
Installation view, Monica Bonvicini, & Liberation, Galerie Gisela Capitain Petzel, Cologne, 2024
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Installation view, Monica Bonvicini, & Liberation, Galerie Gisela Capitain Petzel, Cologne, 2024
Installation view, Monica Bonvicini, & Liberation, Galerie Gisela Capitain Petzel, Cologne, 2024
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Ph: Simon Vogel
Ph: Simon Vogel
Monica Bonvicini
Fleurs du Mal (un couple), 2024
Bronze, glass
60 x 60 x 60 cm
23.6 x 23.6 x 23.6 inches
23.6 x 23.6 x 23.6 inches
B-MBONVICINI-.24-0004
Further images
Monica Bonvicini's Fleurs du Mal (un couple) engages in a dialogue with Marcel Duchamp's iconic Bottle Rack (1914), creating a witty and provocative counter-vision. By casting her sculptures in bronze...
Monica Bonvicini's Fleurs du Mal (un couple) engages in a dialogue with
Marcel Duchamp's iconic Bottle Rack (1914), creating a witty and provocative
counter-vision. By casting her sculptures in bronze and pairing them with
handmade glass objects, Bonvicini reinterprets Duchamp’s readymade and
its Freudian implications of male potency and masculinity. This approach
challenges traditional notions of desire, pleasure, and control.
In Bonvicini's oeuvre, the interplay of words is crucial to their conceptual
impact. The expression „on the rack“ conjures images of suffering and
anxiety, while the sculpture Fleurs du Mal (un couple) introduces a wry
connection. This wordplay highlights the afflicted status of the glass objects,
suspended from spikes like wilted flowers or mollusks, symbolizing the
decay of contemporary society. These objects symbolize not just physical
decay but also a deeper societal malaise, including the notion of fractured
masculinity.
Marcel Duchamp's iconic Bottle Rack (1914), creating a witty and provocative
counter-vision. By casting her sculptures in bronze and pairing them with
handmade glass objects, Bonvicini reinterprets Duchamp’s readymade and
its Freudian implications of male potency and masculinity. This approach
challenges traditional notions of desire, pleasure, and control.
In Bonvicini's oeuvre, the interplay of words is crucial to their conceptual
impact. The expression „on the rack“ conjures images of suffering and
anxiety, while the sculpture Fleurs du Mal (un couple) introduces a wry
connection. This wordplay highlights the afflicted status of the glass objects,
suspended from spikes like wilted flowers or mollusks, symbolizing the
decay of contemporary society. These objects symbolize not just physical
decay but also a deeper societal malaise, including the notion of fractured
masculinity.