Artist
Monica Bonvicini
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.
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.
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.
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.
