22 APRIL – 21 AUGUST 2022

I Don‘t Like You Very Much... and I don‘t think you are fascinating. So is the continuation of the text from which the title of the show is originating.From poetry to literature, the use of quotations, their re-editing, the use of language in drawings, graphical works but also in sculptures and large size public pieces is key to Bonvicini’s work. In reference to the cut-up technique used by many Dada artists and articulated further – among others – by William S. Borroughs, Bonvicini is cutting through narrativities belonging to history, social and economical issues, in a way that destabilizes space, the one of institutions, the public as the private one.For the show at Kunsthaus Graz, Bonvicini is presenting different works, ranging from the video I See a White Building, Pink and Blue, 2020 to a series of color documentary photography Italian Homes, 2019, to an entire architecture titled As Walls Keep Shifting, specifically arranged for the space.The video projection directly welcomes the viewers at the entrance of the exhibition. One dives into psychedelic colors while the constant rhythm of its sound is bathing the entire space setting the tone of the entire show. The title is borrowed from the British neurologist Oliver Sacks speaking about a woman who experienced hallucinations.The wooden large-scale architectural installation As Walls keep Shifting can be seen as a three-dimensional rendering of an architectural cut-up technique. First presented in the space of OGR in Turin, then re-built anew in Busan for the Biennial in 2020, the sculpture is the 1:1 reproduction of one half of the photographed houses. The sustainable construction in wood is built in the typical American Balloon Frame style. Bonvicini studied at the beginning of the 1990s at Cal Arts and took pictures of gated community houses under construction in that area. The title of the work comes from the book House of Leaves by Mark Z. Danielewski, 2000, a story told by multiple voices of a family trying to fix the ideal house in the countryside, until the indescribable reality of measu- rements takes a turn into the dark.For Kunsthaus Graz As Walls Keep Shifting is literally cut in three parts, carefully arranged in the space in perpetual balance as if a hurricane would have passed by and twisted the property around. As in Buster Keaton‘s silent movie A Week, produced and directed almost 100 years ago, the idyllic idea of the house as a nest for security and love is dismantled and far away from becoming reality. A sound piece, tracking the song Our House by Graham Nash that he wrote for Joni Mitchell in 1970, is annoyingly invading the exhibition space.A new edition of Breach of Décor, 2020, the neon piece Love Never Win, 2022, Pleasant, 2021 as well as works from 2022 are displayed accompanying the main installation. In the Needle space the new installation You to Me, 2022, specifically designed for the space, offers a reflection on the role of the audience and the commodification of the body, in an extreme act of displacement, where the intimacy of sex or violence is dismantled as well and brought onto the open stage of the art institution, almost en plain air, above the rooftops of Graz.

Kunsthaus Graz in collaboration with Kunstmuseum Winterthur, where a new show with around 70 drawings from the series Hurricane and other Catastrophes is opening on the 9th of September, will produce a substantial catalog on works by Bonvicini addressing the production of the last 20 years focusing on her critical prospective on issues around domesticity, home, identity, art history and architecture.

© Monica Bonvicini, Bildrecht, Wien 2022
© Images Kunsthaus Graz, Martin Grabner