Monica Bonvicini

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Open: Temporary Closure

Seilerstätte 16, 1010, Vienna, Austria
Open: Temporary Closure


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Monica Bonvicini

Vienna

Monica Bonvicini
to Fri 28 Feb 2020
Temporary Closure

Presentation in honor of the Oskar Kokoscha Prize 2020

Monica Bonvicini’s multifaceted practice, which examines the relationship between architecture, power, gender, space, surveillance and control, is shown in works that question the meaning of art making, the ambiguity of language and the limits and possibilities of the ideal of freedom. Her work has been shown at numerous well-known biennials: Berlin (1998, 2004, 2014), La TriennaIe Paris (2012), Istanbul (2003, 2017), Gwangju (2006), New Orleans (2008) and Venice (1999, 2001, 2005 , 2011 and 2015 where she was awarded the Golden Lion in 1999). Most recently, Monica Bonvicini exhibited in the Kunsthalle Fridericianum in Kassel (2011), in the Centro de Arte Contemporaneo de Malága, (2011), in the Deichtorhallen Hamburg (2012), in the Kunsthalle Mainz (2013), in the BALTIC Center for Contemporary Art (2016), the Berlinische Galerie (2017) and the exhibition There I Belong, Hammershøi by Elmgreen & Dragset, SMK, Copenhagen (2019). Her works can be seen in the exhibition I cannot hide my anger at Belvedere 21, Vienna, until October 27.

Monica Bonvicini was born in Venice in 1965, she studied at the University of the Arts in Berlin and the California Institute of Arts in Valencia. From 1998 to 2002 she lived in Los Angeles, where she taught at the Art Center College of Desingn in Pasadena. From 2003 to 2017 she was professor for Performative Art and Sculpture at the Academy of Fine Arts in Vienna and since 2017 professor for sculpture at the University of the Arts in Berlin since 2017.

This show on the occasion of the awarding of the Oskar Kokoscha Prize shows an overview of works from the past 25 years, from the Smart Quotation series 1995/6, the installation Flagging Down Up all Night 2019 or an excerpt from the series NeedleKnows 2012. This series consists of 200 embroideries that show pliers in seemingly infinite variations. In this series the manual work that was invested in the production of the embroidery stands in contrast to the work as a more abstract economic concept. With NeedleKnows Monica Bonvicini also points out the problem of gender-specific work and its unequal social positions within the conceptual form of the work.

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