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Monica Bonvicini


The most comprehensive monograph on the work of Monica Bonvicini.

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The most comprehensive monograph on the work of Monica Bonvicini.

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Editorial Reviews

Publishers Weekly
"You can avoid people, but you can't avoid architecture," says the artist Monica Bonvincini, best known for expressing architecture's dominating relationship to women via giant mirrored and lighted constructions of cement and stainless steel like 2010's She Lies in Oslo and 2012's Run in London's Olympic Park. Bonvincini's oeuvre also "alludes to the often hidden spaces of sexual desire and exhibitionism," exploring fetishism and S&M using bronze and resin sculptures and rubber and hanging chain pieces. The answers she gives in a lengthy interview with co-author Alberro helpfully elucidate her art—occasionally, too much so. Her pieces can stand perfectly well by themselves, particularly the massive constructs dramatically reproduced here in color photographs. Less successful is the Wallfuckin' series, which is more likely to induce nervous laughter than thought, and a 1999 installation of completed and framed questionnaires for people in the building trades, including the now-dated: "How do you get along with your gay colleagues?" While She Lies will float on its pontoons in the river Akerselva for many years, these smaller works are more fleeting. 200 illus. (July )
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Product Details

  • ISBN-13: 9783832192211
  • Publisher: DuMont monte Verlag GmbH & Company, KG
  • Publication date: 2/28/2010
  • Pages: 80
  • Product dimensions: 7.60 (w) x 10.00 (h) x 0.50 (d)

Meet the Author

Alexander Alberro is Virginia Bloedel Wright ’51 Professor of Art History at Barnard College and Columbia University as well as a recipient of fellowships from the National Endowment of the Humanities, the George A. and Eliza Howard Foundation and the Whitney Museum of American Art. He is the author of Conceptual Art and the Politics of Publicity (2000), and has edited a number of books on contemporary art, including Conceptual Art: A Critical Anthology (MIT, 1999), Recording Conceptual Art (University of California, 2001) and The Ruin of Exchange (JRP/Ringier, 2012).

Monica Bonvicini (b. Venice, 1965) is a visual artist based in Berlin.

Juliane Rebentisch is Professor of Philosophy and Aesthetics at the University of Arts and Design in Offenbach/Main and associated member of the Frankfurt Institute of Social Research. Her main research areas are aesthetics, ethics and political philosophy. Rebentisch’s publications include Kreation und Depression: Freiheit im gegenwärtigen Kapitalismus (co‐edited with Christoph Menke, Kadmos, 2010), Die Kunst der Freiheit: Zur Dialektik demokratischer Existenz (Suhrkamp, 2012), Aesthetics of Installation Art (Sternberg, 2012) and Theorien der Gegenwartskunst zur Einfuhrung (Junius, 2013).

Janet Kraynak is Associate Professor of Contemporary Art History at the New School in New York, where she holds a joint appointment in the School of Art and Design History and Theory at Parsons, and the Visual Studies program, Department of Arts, Eugene Lang College. Kraynak’s writings have appeared in Art Journal, Grey Room, Artforum, Frieze, and The Journal of Visual Culture among other publications. She is the author of Nauman Reiterated (Electronic Mediations series, University of Minnesota, 2014), and the editor of Please Pay Attention Please: Bruce Nauman’s Words: Writings and Interviews (MIT, 2003).

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