![Monica Bonvicini, North Carolina 2011, 2019](https://artlogic-res.cloudinary.com/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/capitainpetzel/images/view/e61c01d4f6dcb82f1adbd63261af2886j/capitainpetzel-monica-bonvicini-north-carolina-2011-2019.jpg)
Monica Bonvicini
150 x 200 cm / 59 x 78.7 inches
Framed dimensions:
160.5 x 210 cm / 63.2 x 82.7 inches
Further images
The photographic source material is skilfully rendered in hazy spray paint and tempera that oozes down the surface of the paper in thick streams, emphasizing a pervasive feeling of doom throughout the body of work. The series can be seen in lineage of canonical works of contemporary art, such as Dan Graham’s photo series Homes for America (1966-67). In Bonvicini’s case architecture confronts important feminist tropes related to power, labor and the urban environment that are inevitably linked to the collective and individual formation of identity both in the public and private spheres. The artist has stated: “What has interested me for a long time is the fact that architecture always has, in some way, gendered connotations”, and “Home is the place where the first sense of identity is formed. Home is always about memory, too.”
Exhibitions
Monica Bonvicini, Hurricanes and Other Catastrophes, Kunstmuseum Winterthur, Switzerland, 2022
Monica Bonvicini. Lover's Material, Kunsthalle Bielefeld, 2021