Monica Bonvicini: I was a student at the Berlin University of the Arts in the West when the Berlin Wall fell. That night, I went with some fellow students to Brandenburger Tor, where I stayed all night long. At some point I went home but I could not sleep so I went back out on my bike. From the western districts of Wilmersdorf through Tiergarten, everything was crowded with people—it was maybe Berlin’s first Love Parade.

The relationship between architecture and patriarchal systems, and how the shaping of public space has been impacted as a consequence, has long been at the core of Monica Bonvicini’s work. Curated by Nicola Ricciardi and Samuele Piazza, ‘As Walls Keep Shifting’ comprises a plain wooden prefab structure simulating a typical Italian villetta (semi-detached house) furnished with works by the artist.

The sound of Bonvicini’s Breathing is not the sound of breath, but it beckons viewers to the kinetic installation all the same. Above the din of Unlimited’s crowd, an overhead array of pistons whirr and snap like the jaws of some iron dragon. What they control is a hydra of black-leather, silver-buckled “men’s belts” (as they have been described in past installations) sent swinging, clinking, and slashing across the space in irregular patterns. Simultaneously playful and threatening, the work converts what could be read as a symbol of toxic masculinity—husbands and fathers have too often used belts as makeshift bullwhips for domestic abuse—into a tongue-in-cheek totem of feminist power: the witch’s broom. 

Though there is an immediacy in film that feels particularly poignant at this time, the show’s significance is not dependent on our culture’s heightened awareness. The ideas these videos consider are neither new nor are they temporary. They remain critical to examine decade after decade.

The exhibition was opened on the occasion of the Berlin Art Week in September 2017, and it is on view through February 26, 2018. The title of the show relates to the volume of the museum space occupied by the exhibition in relation to the volume of the artist’s body. Bonvicini, who is known for re-examining minimalism, conceptual art and institutional critique, took the gallery room as the first reference, and conceived the entire exhibition as an appropriation of the institution and its museological processes, commenting on the themes that she found outside its white cube—inclusion and barriers, subjugation and freedom.

Monica Bonvicini’s new exhibition at the Berlinische Galerie is an aural invasion. From most parts of the museum, the jangling buckles and leather tails of a 33-foot-long whip, titled Breathing, can be heard hitting the floor and walls. Along with the incessant slamming of a metal door, Bonvicini has crafted a jarring soundscape to house the rest of the museum’s collection of modern art from Berlin.

Monica Bonvicini’s homage to Louise Bourgeois will be some of the surprises among many others

For her solo presentation at the Berlinische Galerie, Monica Bonvicini has produced a site-specific installation to be staged in the museum’s large exhibition hall—a move that is a hallmark of her decades-long practice, which often focuses on the institutional viewing space. Because the Berlin exhibition runs in tandem with the 15th Istanbul Biennale, in which Bonvicini is also participating, the show is influenced by both Berlin and Istanbul, and is said to feature elements of each major city.

Since the 1990s, Bonvicini’s works have circled around the world of construction. Industrial materials, tools, and construction site supplies have been used and transformed into large installations or sculptures. She reveals the close connections between architecture and public spaces, the world of labor, gender and sexuality, as well as control, politics, power and representation. In Bonvicini’s eyes, buildings as well as urban and suburban infrastructure are by no means neutral, but on the contrary obsessive, politically ideological, and sexualized. 

For this exhibition, the Italian-born, Berlin-based artist Monica Bonvicini bisected Mitchell-Innes & Nash's main space with a temporary wall supported by two small, dildolike "sculptures" in Murano glass resting on the floor. The installation, Structural Psychodrama #2 (2017), succinctly encapsulated the central theme of her work over the last twenty years: the imbrication of sex and architecture through relationships between the body and its shelters, barriers, props, and frames. As Bonvicini put it in a 2004 interview, "You have something under your belt and something over your head. And you need both." 

RE pleasure RUN” is Bonvicini’s first New York exhibition in 10 years. Fittingly, it could be thought of as a kind of mini-survey, bringing together all the predominant strains of the Italian-born, Berlin-based artist’s varied practice—namely wall-based installations, light and leather sculptures, found photo collages, works on paper, paints, and glass dildos. Over the course of her 30-year career, Bonvicini has explored through these projects issues around identity, structures of power, and the limits of language. And she has done so with her signature mixture of provocation, innuendo, and wit. The resulting message, if there is one, is often ambiguous.

The aggressively enigmatic works of the Italian artist suggest a lot and explain little, beyond dropped hints of erotic and political discontent. Walls are shimmed up on small glass-phallus sculptures. Clustered men’s belts assume a testicular shape. Fragmented syllables in white neon, on an aluminum rack, instruct “No more masturbation,” but they don’t say why. In a grainy photographic mural, workmen do something incomprehensible to a grimy brick wall. Scores of white L.E.D. tubes hang horizontally in tangles of wire. What’s it all about? Your call.

Over on 25th street, Monica Bonvicini’s solo show at Mitchell-Innes & Nash, RE pleasure RUN, conflates erections with erection—construction—of architectural elements, including walls, in an S&M-tinted play on gender roles, production and displays of power and gratification. Mitchell-Innes & Nash is also showing at the Independent Art Fair, with work by Pope.L.

The BALTIC Centre for Contemporary Art in Gateshead, UK has announced that the four winners of its inaugural 2017 award are Jose Dávila, Eric N. Mack, Toni Schmale, and Shen Xin. Selected individually by Monica Bonvicini, Mike Nelson, Pedro Cabrita Reis, and Lorna Simpson, the four emerging artists will each be given a 13-week exhibition at the BALTIC (to open on June 30, 2017), £25,000 ($30,665) to create new works, and a £5,000 ($6,133) artist fee.

Bonvicini addresses power dynamics, effective communication, and even the structure of the gallery itself in this new show. Central to the exhibition is Structural Psychodramas #2 (2017), a large-scale installation of temporary walls that questions the architecture of art institutions. Neon text works, one of which reads “NO MORE MASTURBATION,” offer a cheeky commentary on the role of desire in the present moment.

It’s been ten years since Monica Bonvicini had a show in New York. This week, she’ll return with “RE pleasure RUN,” her first solo show with Mitchell-Innes & Nash.

There’s something undeniably seductive about Monica Bonvicini’s work. Whether it’s a neon sculpture or painting of a burned-out building, her (usually monochromatic) pieces have a vaguely S&M quality and wouldn’t look out of place in the background of a high-fashion editorial photoshoot. But beyond looking good, they’re subtly loaded with content. Bonvicini speaks to structures, both literally (as in the architectural sense) and figuratively (as in those of power). 

Berlin-based, Italian conceptual artist Monica Bonvicini gets her first New York solo show in a decade. Her debut at the gallery centers on Structural Psychodramas #2, an installation of small Murano glass sculptures, as well as two of the artist’s monumental disaster paintings and large-scale, provocative neon works, one of which reads “NO MORE MASTURBATION.”

Monica Bonvicini was born in the 60s in Venice and finished her studies at California Insitute of Arts and in Berlin in 1992. Her work since–dipping between installation, sculpture, video and drawing–has been influenced by architecture, exploring both public and private spaces, and is often noted to have sprung from the sex clubs that the artist found herself frequenting during the 90s.

In this interview with the art historian Alexander Alberro excerpted from Phaidon’s Monica Bonvicini, Bonvicini sheds light on her famously brash use of materials, the liberating nature of BDSM clubs, and how the personal is always political, even when we least expect it.

An exhibition of provocative, large-scale installations by Monica Bonvicini is on display at the Baltic Centre for Contemporary Art in Gateshead through February 26, 2017.

Italian artist Monica Bonvicini's practice has focused on two rather unusual themes: walls and sex. An extensive survey of the Berlin-based artist's work at Baltic Contemporary in Gateshead combines the two.
 

Fierce, mordant and confrontational, Monica Bonvicini aims to annoy at every turn in this bracing first UK survey. 

Between the power drills, leather tassels and saucy builders’ humour, Italian artist Monica Bonvicini lets sadomasochism hang heavy in the air. But the audience frustratingly ends up neither master nor slave.

The Berlin-based artist has built her practice around interrogating the notion of identity through art, as her expansive new exhibition at the Baltic demonstrates.

Fetishism, Freud and transparent toilets - a brief guide to this great Italian artist’s work.