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monica bonvicini

biography

Born in Venice in 1965, Monica Bonvicini studied art in Berlin and at Cal Arts, Valencia, CA. Since 2003 she holds a position as Professor for Performative Arts and Sculpture at the Academy of Fine Arts in Vienna. Beginning in October 2017 she assumes the professorship for sculpture at the Universität der Künste, Berlin. She lives and works in Berlin.

Monica Bonvicini emerged as visual artist and started exhibiting internationally in the mid-1990s. Her multifaceted 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. Dry-humored, direct, and imbued with historical, political and social references, Bonvicini’s art never refrains from establishing a critical connection with the sites where it is exhibited, the materials that comprise it, and the roles of spectator and creator. This approach, which has been at the core of her production since her first solo exhibition at the California Institute of the Arts in 1991, has formally evolved over the years without betraying its analytical force and inclination to challenge the viewer’s perspective while taking hefty sideswipes at socio-cultural conventions.

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Born in Venice in 1965, Monica Bonvicini studied art in Berlin and at Cal Arts, Valencia, CA. Since 2003 she holds a position as Professor for Performative Arts and Sculpture at the Academy of Fine Arts in Vienna. Beginning in October 2017 she assumes the professorship for sculpture at the Universität der Künste, Berlin. She lives and works in Berlin.

Monica Bonvicini emerged as visual artist and started exhibiting internationally in the mid-1990s. Her multifaceted 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. Dry-humored, direct, and imbued with historical, political and social references, Bonvicini’s art never refrains from establishing a critical connection with the sites where it is exhibited, the materials that comprise it, and the roles of spectator and creator. This approach, which has been at the core of her production since her first solo exhibition at the California Institute of the Arts in 1991, has formally evolved over the years without betraying its analytical force and inclination to challenge the viewer’s perspective while taking hefty sideswipes at socio-cultural conventions.

Bonvicini has earned several awards, including the Golden Lion at the Biennale di Venezia (1999); the Preis der Nationalgalerie für junge Kunst, from the Staatliche Museen zu Berlin (2005); the Rolandpreis für Kunst for art in the public from the Foundation Bremen, Germany (2013), the Hans Platschek Prize for art and writing, Germany (2019); the 2019 Premio ACACIA alla Carriera, Milan, Italy; and the Oskar Kokoschka Prize, Vienna, Austria (2020). Her work has been featured in many prominent biennials, including Berlin (1998, 2004, 2014), La TriennaIe Paris (2012), Istanbul (2003, 2017), Gwangju (2006), New Orleans (2008), and Venice (1999, 2001, 2005, 2011, 2015). She has had solo exhibitions at Palais de Tokyo, Paris (2002); Modern Art Oxford, England (2003); Secession, Vienna (2003); Staedtisches Museum Abteiberg (2005, 2012); SculptureCenter, New York (2007); Art Institute of Chicago (2009); Kunstmuseum Basel (2009); Frac des Pays de la Loire, France (2009); Kunsthalle Fridericianum, Kassel (2011); Centro de Arte Contemporaneo de Malága, Spain (2011); Deichtorhallen Hamburg (2012); Kunsthalle Mainz (2013); BALTIC Center for Contemporary Art, England (2016); Berlinische Galerie, Berlin (2017); and Belvedere 21, Vienna (2019).

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images

Fleurs du Mal (pink), 2019

Steel, hand blown glass

170 × 150 × 150 cm (approx.)

Photo: Andrea Rossetti

Fleurs du Mal (pink), 2019 (detail)

Steel, hand blown glass

170 × 150 × 150 cm (approx.)

Photo: Andrea Rossetti

Marlboro Man, 2019

Silkscreen on aluminum

400 × 620 cm

Photo: Andrea Rossetti

Structural Psychodrama #3, 2017

polystyrene, aluminium, MDF, plaster, paint, chain steel, hook.

440 × 630 × 28 cm

Hurricanes and Other Catastrophes

Camp Fire, Hot November, CA. 2018, 2019

Tempera and spray paint on Fabriano paper

150 × 200 cm

Photo: Jens Ziehe

Alabama 2011, 2016

Diptych

Tempera and spray paint on Fabriano paper mounted on canvas

198 × 307 cm overall; 2 pieces 198 x 153 cm

Woodward Tornado, 2016

Tempera on Fabriano paper lined on fabric

190 × 153,6 cm

Photo: Jens Ziehe

As Walls Keep Shifting , 2019

Installation view at OGR, Turin

Photo: Andrea Rossetti

Italian Homes #4, 2019

Pigment print on paper

59 × 79,5 cm; 60,5 × 81 × 3,5 cm framed 39 x 59,5 cm image size

Italian Homes #11, 2019

Pigment print on paper

59 × 79,5 cm; 60,5 × 81 × 3,5 cm framed 39 x 59,5 cm image size

Italian Homes #28, 2019

Pigment print on paper

59 × 79,5 cm; 60,5 × 81 × 3,5 cm framed 39 x 59,5 cm image size

Flagging Down Up All Night, 2019

Steel, black leather men's belts

120 × 113 × 100 cm approximately

Hang Your Dry, 2018

LED tubes, wire, rubber caps, electric cable, silver tape, chrome bar, troughed sheets

230 × 232 × 35 cm

Same Old Shit, 2018

mirror, MDF

90 × 80 × 2,6 cm

Guilt Kette, 2018

Steel, silver, acrylic glass, wood

51 × 41 × 13,5 cm

Photo: Andrea Rossetti

Breathing, 2017

Steel structure, compressed air cylinder, compressor, rope, synthetic fiber, leather belts

Dimensions variable

Photo: Jens Ziehe

Breathing, 2017

Installation view at Art Basel | Unlimited 2019

Steel structure, compressed air cylinder, compressor, rope, synthetic fiber, leather belts

Dimensions variable

Photo: Andrea Rossetti

Sculture

Diener/Starlight Black, 2017

Brass, iron, varnish

190 × 20 × 57 cm

Diener/Starlight Black, 2017

Brass, iron, varnish

190 × 20 × 57 cm

With One Leg, 2017

print on Tyvek and spray paint

183 × 136 × 3 cm

Of The Wall, 2017

print on Tyvek and spray paint

183 × 136 × 3 cm

Run Black #1, 2014

Spray paint on canvas

49 × 35 cm

Photo: Lorenzo Palmieri

fuck, 2013

Spray paint on canvas

58,5 × 73 cm; 65,9 × 80,4 × 4 cm framed

no, 2013

Spray paint on canvas

43,4 × 77,7 cm; 50,5 × 85,4 × 4 cm framed

Blind Corner, 2004

ink and tempera marker on paper

71,5 × 90 cm; 76 x 95 x 4,5 cm framed

Blind Date, 2004

ink and tempera marker on paper

71,5 × 90 cm; 76 x 95 x 4,5 cm framed

Women Carrousel, 2002

Tempera marker on Fabriano paper

150 × 130 cm; 160 × 141 × 5,5 cm framed

Photo: Lorenzo Palmieri

Vitruvius, 2002

Tempera marker on Fabriano paper

150 × 130 cm; 160 × 141 × 5,5 cm framed

Photo: Lorenzo Palmieri

Saint Peter, 2002

Tempera marker on Fabriano paper

150 × 130 cm; 160 × 141 × 5,5 cm framed

Photo: Lorenzo Palmieri

Places of ID (Three People at the...), 2002

Tempera marker on Fabriano paper

150 × 130 cm; 160 × 141 × 5,5 cm framed

Photo: Lorenzo Palmieri

public exhibitions

OGR

Torino

As Walls Keep Shifting

31.10.2019 – 9.2.2020

Photo Luigi DePalma Courtesy OGR Torino

OGR

Torino

As Walls Keep Shifting

31.10.2019 – 9.2.2020

Photo Andrea Rossetti Courtesy OGR Torino

OGR

Torino

As Walls Keep Shifting

31.10.2019 – 9.2.2020

Photo Andrea Rossetti Courtesy OGR Torino

OGR

Torino

As Walls Keep Shifting

31.10.2019 – 9.2.2020

Photo Andrea Rossetti Courtesy OGR Torino

Belvedere 21

Vienna

I Cannot Hide My Anger

28.6 – 27.10.2019

Photo: Jens Ziehe

Belvedere 21

Vienna

I Cannot Hide My Anger

28.6 – 27.10.2019

Photo: Jens Ziehe

Belvedere 21

Vienna

I Cannot Hide My Anger

28.6 – 27.10.2019

Photo: Jens Ziehe

Kunstverein Hamburg

Hamburg

2019-05-17

Political Affairs - Language Is Not Innocent

21.7.2019

Photo: Fred Dott

Kunsthal Charlottenborg

Charlottenborg

Europa Endlos

21.3 – 11.8.2019

Photo: Norbert Miguletz

KAI 10 | ARTHENA FOUNDATION

Düsseldorf

Body in Pieces

22.2 – 12.5.2019

Photo: Hans-Georg Gaul

KAI 10 | ARTHENA FOUNDATION

Düsseldorf

Body in Pieces

22.2 – 12.5.2019

Photo: Hans-Georg Gaul

KAI 10 | ARTHENA FOUNDATION

Düsseldorf

Body in Pieces

22.2 – 12.5.2019

Photo: Hans-Georg Gaul

Kunstverein Hamburg

Hamburg

Class Relations: Phantoms of Perception

27.10.2018 – 27.1.2019

Photo: Fred Dott

Berlinische Galerie

Berlin

3612,54 M³ VS 0,05 M³

16.9.2017 – 26.2.2018

Photo: Jens Ziehe

Berlinische Galerie

Berlin

3612,54 M³ VS 0,05 M³

16.9.2017 – 26.2.2018

Photo: Jens Ziehe

Berlinische Galerie

Berlin

3612,54 M³ VS 0,05 M³

16.9.2017 – 26.2.2018

Photo: Jens Ziehe

15th Istanbul Biennial

Hamam

Istanbul

a good neighbour

16.9 – 12.11.2017

Photo: Sahir Ugur Eren

15th Istanbul Biennial

Hamam

Istanbul

a good neighbour

16.9 – 12.11.2017

Photo: Sahir Ugur Eren

15th Istanbul Biennial

Hamam

Istanbul

a good neighbour

16.9 – 12.11.2017

Photo: Sahir Ugur Eren

BALTIC Centre for Contemporary Art

Gateshead

her hand around the room

18.11.2016 – 26.2.2017

BALTIC Centre for Contemporary Art

Gateshead

her hand around the room

18.11.2016 – 26.2.2017

Photo: John McKenzie

press

Chi decidiamo di essere

Valentina De Mathà

Hestetika Magazine

January 2020

In the Studio: Monica Bonvicini

Sylvia Metz

Collectors Agenda

September 2019

Glamour, Fetish, Durchschlangskraft

Elke Buhr

Monopol

September 2019

Extended Stage: Monica Bonvicini

Ippolito Pestellini Laparelli

Mousse

October 2019

Monica Bonvicini on Her New Massive Sculpture on View in Berlin, a 33-Foot-Long Whip

Kate Brown

Artnet News

December 5, 2017

Six things you need to know about Monica Bonvicini

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

Phaidon

June 2017

publications

Monica Bonvicini: I CANNOT HIDE MY ANGER

Julia Bryan-Wilson, Axel Koehne, Stella Rollig, Mark Wigley

Verlag der Buchhandlung Walther König

Berlin

2019

Monica Bonvicini

Dr. Thomas Köhler, Kate Sutton

Kerber

Bielefeld

2017

Monica Bonvicini

Janet Kraynak, Alexander Alberro, Juliane Rebentisch

Phaidon

London

2014

Monica Bonvicini - Disegni

Dirk Luckow, Harald Falckenberg, Susanne Titz, Monica Bonvicini, Bettina Steinbrügge

Distanz

Berlin

2012

A Black Hole of Needs, Hopes and Ambitions

Verlag der Buchhandlung Walther König

Berlin

2011