www.monicabonvicini.net:
She Lies, 2010.
Styrofoam, concrete pontoon, stainless steel, reflecting glass panels, glass splinters, anchoring system.
Size above sea level: 1700 x 1600 x 1200 cm.
Permanent installation on the Bj rvika Fjord, in front of the Norwegian Opera and Ballet, Oslo.
featured on The Atlas for Art on Ecology and Climate, Energy and Resources.
www.koeniggalerie.com:
The artwork is particularly referring to the central motive of the work: the massive piles of ice that function as a symbol for power and magnificence of the north.
www.atlasobscura.com:
The power of Mother Nature over human endeavors is on display in Oslo Harbour just off the shore of the Oslo Opera House. This striking sculpture evokes the power of ice and water ever-present in the high north.
www.artwork.earth:
She Lies is a sculpture located in Oslo Fjord, close to the opera building in Norway s capital. Bonvicini s work takes up the Romantic motive of Caspar David Friedrich s Das Eismeer (1824) and transfers it to a new setting that is formed by the current development of the climate.
The synthesis of structure/skin/ornament explore the interface between nature and culture, or that of a cultural artefact. While reconstructing a famous Romantic painting, the work represents in a visual striking way the shape of an iceberg, as if one would have, by circumstances due to the global warming, ended up in the fjord in front of the opera house. A built ruin in best modernistic style, the sculpture on water will stand for a permanent state of erection/construction. ; Monica Bonvicini.
Ice/ Arctic/ Antarctic and Water/ Body of water.
Position: X 59.907639,10.753224.
www.wikipedia.org:
The permanent installation, titled She Lies, was publicly revealed on May 11, 2010.[27] Commissioned by Public Art Norway, the artwork is situated on Oslofjord, positioned in front of the Oslo Opera House. Constructed from stainless steel, reflecting glass panels, and glass splinters, it stands on a styrofoam and concrete pontoon that is equipped with an anchoring system. The sculpture is not fixed but responds to the power of tides and wind, turning around its axis and moving within a range of 50 meters.
The monumental sculpture measuring 12 x 17 x 16 meters is an interpretation of Caspar David Friedrich s 1824 painting Das Eismeer. Bonvicini reuses the imagery of the ice masses seen in Friedrich s painting to establish connections with themes of ruin within the framework of Romantic ideals; central to this linkage are concepts intrinsic to Romanticism, including the reverence for nature and the pursuit of scientific inquiry. Bonvicini describes the work as: the synthesis of structure/skin/ornament explore the interface between nature and culture, or that of a cultural artefact. While reconstructing a famous Romantic painting, the work represents in a visual striking way the shape of an iceberg, as if one would have, by circumstances due to the global warming, ended up in the fjord in front of the opera house. A built ruin in best modernistic style, the sculpture on water will stand for a permanent state of erection/construction'.
www.koeniggalerie.com:
She Lies is a monumental permanent sculpture built out of stainless steel and glass panels and floats amidst the fjord on the water. By turning around its own axis in correspondence to the tides, the sculpture offers changing views through the reflections on the mirrored and semitransparent surfaces. Bonvicini s sculpture is a three dimensional interpretation of Caspar David Friedrich s painting Das Eismeer, 1823-24.
www.atlasobscura.com:
The floating stainless steel and glass sculpture named She Lies was designed and created by Italian artist Monica Bonvicini. It is based on Caspar David Friedrich s painting Das Eismeer (The Sea of Ice).
The artwork floats on a concrete platform tethered to the harbor floor, allowing it to turn and change based on the tides and currents. Its subtle movements are a reminder of nature s constant change. According Public Art Norway (KORO), which supported the installation, the name She Lies adds intentional ambiguity that encourages further reflection.
The sculpture is permanently installed in Oslo s Bj rvika harbor area near the Oslo Opera House.
www.monicabonvicini.net:
Monica Bonvicini emerged as a visual artist and started exhibiting internationally in the mid-1990s. Her multifaceted practice investigates the relationship between architecture, power structures, gender and space. Her research is translated into works that question the meaning of making art, the ambiguity of language, and the limits and possibilities connected 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, its materials, and the roles of spectator and creator. Since her first solo exhibition at the California Institute of the Arts in 1991, her approach has formally evolved over the years without betraying its analytical force and inclination to challenge the viewer s perspective while taking hefty sideswipes at patriarchal, 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 Public Space from the Foundation Bremen, Germany (2013); the Hans Platschek Prize for Art and Writing, Germany (2019); the Oskar Kokoschka Prize, Austria (2020).
Among others, Bonvicini s artworks are permanently installed in Queen Elizabeth Olympic Park, London; on the waterfront at Bj rvika, before the Den Norske Opera & Ballett House, Oslo; Weserburg Museum of Modern Art, Bremen. In 2012 Bonvicini was appointed Commander of the Order of Merit of the Italian Republic.
Monica Bonvicini studied art at UdK in Berlin and at the California Institute of the Arts, Los Angeles. As a professor at the Academy of Fine Arts in Vienna, Bonvicini led the Performative Arts and Sculpture courses from 2003 until 2017 where she helped to consolidate the city as one of the new artspot in Europe at the time. In October 2017, she assumed the professorship for Sculpture at the Universit t der K nste, Berlin. She lives and works in Berlin.
www.wikipedia.org:
Monica Bonvicini works with a variety of media, her research encompasses psychoanalysis, labour, feminism, design and urbanity, and the influence of private and institutional spaces on behavioural codes. Commonly described as working site-specifically, Bonvicini creates discursive displays that relate to an exhibiting venue and its operational context. By employing text, humour, irony and often explicit material and language, her artworks challenge institutional boundaries and interrogate the role of the spectator. Her work critically examines the legacy of modernism addressing both its artistic and social dimensions, while also drawing upon references from minimalism, conceptual art, Institutional Critique, feminist and queer subcultures as well as civil rights and other political movements.
www.wikipedia.org:
Monica Bonvicini (born 1965 in Venice) is a German-Italian artist who works with installation, sculpture, video, photography and drawing mediums to explore the relationships between architecture and space, power, gender and sexuality. She is considered part of a generation of artists that expanded on the critical practices of the 1960s and 1970s to conceive of space and architecture as a material that could engage with discourses of power and politics, defining art as an active form of critique . She was awarded the Golden Lion at the Venice Biennale in 1999 and the Preis der Nationalgalerie (The National Gallery Prize for Young Artists) from the Staatliche Museen zu Berlin in 2005. She was appointed Commander of the Order of Merit of the Italian Republic in 2012.
She Lies, 2010.
Styrofoam, concrete pontoon, stainless steel, reflecting glass panels, glass splinters, anchoring system.
Size above sea level: 1700 x 1600 x 1200 cm.
Permanent installation on the Bj rvika Fjord, in front of the Norwegian Opera and Ballet, Oslo.
featured on The Atlas for Art on Ecology and Climate, Energy and Resources.
www.koeniggalerie.com:
The artwork is particularly referring to the central motive of the work: the massive piles of ice that function as a symbol for power and magnificence of the north.
www.atlasobscura.com:
The power of Mother Nature over human endeavors is on display in Oslo Harbour just off the shore of the Oslo Opera House. This striking sculpture evokes the power of ice and water ever-present in the high north.
www.artwork.earth:
She Lies is a sculpture located in Oslo Fjord, close to the opera building in Norway s capital. Bonvicini s work takes up the Romantic motive of Caspar David Friedrich s Das Eismeer (1824) and transfers it to a new setting that is formed by the current development of the climate.
The synthesis of structure/skin/ornament explore the interface between nature and culture, or that of a cultural artefact. While reconstructing a famous Romantic painting, the work represents in a visual striking way the shape of an iceberg, as if one would have, by circumstances due to the global warming, ended up in the fjord in front of the opera house. A built ruin in best modernistic style, the sculpture on water will stand for a permanent state of erection/construction. ; Monica Bonvicini.
Ice/ Arctic/ Antarctic and Water/ Body of water.
Position: X 59.907639,10.753224.
www.wikipedia.org:
The permanent installation, titled She Lies, was publicly revealed on May 11, 2010.[27] Commissioned by Public Art Norway, the artwork is situated on Oslofjord, positioned in front of the Oslo Opera House. Constructed from stainless steel, reflecting glass panels, and glass splinters, it stands on a styrofoam and concrete pontoon that is equipped with an anchoring system. The sculpture is not fixed but responds to the power of tides and wind, turning around its axis and moving within a range of 50 meters.
The monumental sculpture measuring 12 x 17 x 16 meters is an interpretation of Caspar David Friedrich s 1824 painting Das Eismeer. Bonvicini reuses the imagery of the ice masses seen in Friedrich s painting to establish connections with themes of ruin within the framework of Romantic ideals; central to this linkage are concepts intrinsic to Romanticism, including the reverence for nature and the pursuit of scientific inquiry. Bonvicini describes the work as: the synthesis of structure/skin/ornament explore the interface between nature and culture, or that of a cultural artefact. While reconstructing a famous Romantic painting, the work represents in a visual striking way the shape of an iceberg, as if one would have, by circumstances due to the global warming, ended up in the fjord in front of the opera house. A built ruin in best modernistic style, the sculpture on water will stand for a permanent state of erection/construction'.
www.koeniggalerie.com:
She Lies is a monumental permanent sculpture built out of stainless steel and glass panels and floats amidst the fjord on the water. By turning around its own axis in correspondence to the tides, the sculpture offers changing views through the reflections on the mirrored and semitransparent surfaces. Bonvicini s sculpture is a three dimensional interpretation of Caspar David Friedrich s painting Das Eismeer, 1823-24.
www.atlasobscura.com:
The floating stainless steel and glass sculpture named She Lies was designed and created by Italian artist Monica Bonvicini. It is based on Caspar David Friedrich s painting Das Eismeer (The Sea of Ice).
The artwork floats on a concrete platform tethered to the harbor floor, allowing it to turn and change based on the tides and currents. Its subtle movements are a reminder of nature s constant change. According Public Art Norway (KORO), which supported the installation, the name She Lies adds intentional ambiguity that encourages further reflection.
The sculpture is permanently installed in Oslo s Bj rvika harbor area near the Oslo Opera House.
www.monicabonvicini.net:
Monica Bonvicini emerged as a visual artist and started exhibiting internationally in the mid-1990s. Her multifaceted practice investigates the relationship between architecture, power structures, gender and space. Her research is translated into works that question the meaning of making art, the ambiguity of language, and the limits and possibilities connected 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, its materials, and the roles of spectator and creator. Since her first solo exhibition at the California Institute of the Arts in 1991, her approach has formally evolved over the years without betraying its analytical force and inclination to challenge the viewer s perspective while taking hefty sideswipes at patriarchal, 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 Public Space from the Foundation Bremen, Germany (2013); the Hans Platschek Prize for Art and Writing, Germany (2019); the Oskar Kokoschka Prize, Austria (2020).
Among others, Bonvicini s artworks are permanently installed in Queen Elizabeth Olympic Park, London; on the waterfront at Bj rvika, before the Den Norske Opera & Ballett House, Oslo; Weserburg Museum of Modern Art, Bremen. In 2012 Bonvicini was appointed Commander of the Order of Merit of the Italian Republic.
Monica Bonvicini studied art at UdK in Berlin and at the California Institute of the Arts, Los Angeles. As a professor at the Academy of Fine Arts in Vienna, Bonvicini led the Performative Arts and Sculpture courses from 2003 until 2017 where she helped to consolidate the city as one of the new artspot in Europe at the time. In October 2017, she assumed the professorship for Sculpture at the Universit t der K nste, Berlin. She lives and works in Berlin.
www.wikipedia.org:
Monica Bonvicini works with a variety of media, her research encompasses psychoanalysis, labour, feminism, design and urbanity, and the influence of private and institutional spaces on behavioural codes. Commonly described as working site-specifically, Bonvicini creates discursive displays that relate to an exhibiting venue and its operational context. By employing text, humour, irony and often explicit material and language, her artworks challenge institutional boundaries and interrogate the role of the spectator. Her work critically examines the legacy of modernism addressing both its artistic and social dimensions, while also drawing upon references from minimalism, conceptual art, Institutional Critique, feminist and queer subcultures as well as civil rights and other political movements.
www.wikipedia.org:
Monica Bonvicini (born 1965 in Venice) is a German-Italian artist who works with installation, sculpture, video, photography and drawing mediums to explore the relationships between architecture and space, power, gender and sexuality. She is considered part of a generation of artists that expanded on the critical practices of the 1960s and 1970s to conceive of space and architecture as a material that could engage with discourses of power and politics, defining art as an active form of critique . She was awarded the Golden Lion at the Venice Biennale in 1999 and the Preis der Nationalgalerie (The National Gallery Prize for Young Artists) from the Staatliche Museen zu Berlin in 2005. She was appointed Commander of the Order of Merit of the Italian Republic in 2012.