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.
Curated by Axel Köhne.
I like going into a space and when I leave it, I am different. I want to stimulate people. I feel that that’s what art can and should do.
Born in Venice in 1965, the artist studied in Berlin and at CalArts, California. Her work has been exhibited in numerous solo shows and biennials around the world and has won such important prizes as the Preis der Nationalgalerie für junge Kunst, Berlin (2005), and the Leone d’Oro at the Venice Biennale (1999). From 2003 Bonvicini spent fifteen years as a professor of performative art and sculpture at the Academy of Fine Arts Vienna, where she left her mark on a new generation of artists who are now making names for themselves. In 2017 she became professor of sculpture at Berlin University of the Arts. Monica Bonvicini lives and works in Berlin.
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