The show’s title, LOVER‘S MATERIAL is a reference to the author Franz Schulzes characterization of the relationship between Johnson and his partner Jon Stroup. In Schulze’s biography of Johnson, Stroup is described as «comfortably passive». For Bonvicini, this opened up the notion that relationships can also be defined as something both objectifying and rationalizing. Starting with this idea, the whole exhibition delves into the relationships—economic and private, as well as political—that are linked to exhibition spaces. How can the artist’s relationship to the museum’s site, its works of art, its visitors, or its employees be defined, and what kind of dependencies are created?
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. Bonvicini has a multimedia approach, using drawing, sculpture, installation, video, and photography. For the Belvedere 21—originally the Austrian pavilion at the World’s Fair in Brussels in 1958—she has developed a site-specific and space-consuming installation that reacts radically to Karl Schwanzer’s architecture. As such, it reflects male-dominated power structures, which are expressed just as much in the constructed space as in art history, politics and language.
Monica Bonvicini and Pope.L are included in Foundation for Contemporary Art's sixteenth benefit exhibition, "Adam McEwen Selects: Exhibition to Benefit the Foundation for Contemporary Arts," on view November 29 through December 15 at Gladstone Gallery. All proceeds benefit FCA, the non-for-profit organization founded in 1963 by Jasper Johns and John Cage.
Monica Bonvicini's hot-sculpted glass sculpture, Bonded, was selected to be a part of the New Glass Review 39
Mitchell-Innes & Nash congratulates Atelier Aziz Alqatami of artist collective GCC and Monica Bonvicini on their inclusion in the 16th Venice Architecture Biennale. The pavilion calls into question hetero-normative considerations of architectural space.
Conceived for the large exhibition hall of the Berlinische Galerie Museum of Modern Art, Bonvicini's installation amongst other things investigates the term facade and its function. The show runs parallel to the 15th Istanbul Biennale in which the artist is also participating and features elements from both cities - Berlin and Istanbul.
Women House is the meeting of two notions: a gender - the female - and a space - the domestic one. Architecture and public space have been masculine while the domestic space was for a long time the prison or the shelter of women: this historical evidence is nevertheless not a fatality and the exhibition Women House shows this.
This year the Atlantic Lecture looks beyond our national boundary across the ocean. Monica Bonvicini is an Italian artist who lives and works in Berlin and teaches sculpture and performance at the Akedemie der Bildenden Künste in Vienna. She is one of the most acclaimed artists to emerge from the mid-1990s. Her multi-faceted practice, which investigates the relationship between architecture, power, gender, space, surveillance, and control, is translated into works that question the meaning of making art, the ambiguity of language, and the limits and possibilities attached to the ideal of freedom.
Sotheby’s Institute of Art – Los Angeles, in conjunction with Claremont Graduate University’s Department of Art and its Atlantic Lecture Series, presents an evening with renowned artist Monica Bonvicini, in conversation with Jonathan T. D. Neil, Director of Sotheby’s Institute of Art – Los Angeles.
From September 16 – November 12, the 15th Istanbul Biennial—which is curated by Elmgreen & Dragset and is centered around the concept of “a good neighbor”—will be staged across six venues in the heart of the Turkish city.
Details about the highly-anticipated exhibition have been released periodically over the past year, initially making waves in April 2016 when the artist duo Elmgreen & Dragset was selected as the 2017 curators. Their appointment was a notable first for the Biennial, which had previously never seen artists moonlight in a curatorial role.
Mitchell-Innes & Nash is pleased to announce that Monica Bonvicini will be the subject of a major one-person survey at the BALTIC Centre for Contemporary Art, Gateshead, UK. Using sculpture, installation, video, photography, text and performance, Bonvicini's work ranges from the intimate to the architectural in scale, questioning some of the often hidden forces that shape identity. The exhibition, titled her hand around the room, will present an overview of Bonvicini's work from throughout her career alongside specially comissioned new works.
Mitchell-Innes & Nash is pleased to annouce representation of Monica Bonvicini.