Monika Sosnowska: Difference between revisions
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'''Monika Sosnowska''' was born 1972 in [[Ryki]], Poland. She studied at the |
'''Monika Sosnowska''' was born 1972 in [[Ryki]], Poland. She studied at the Painting Department of the [http://www.asp.poznan.pl/en_index.html Academy of Fine Arts in Poznan] (1993–1998), and the [http://www.rijksakademie.nl/ Rijksakademie van Beeldende Kunsten] in Amsterdam (1999–2000. In 2003 she received the [[Bâloise Prize]] at Art Basel as well as the [[Polityka's Passport]] award given by Poland’s most prestigious weekly. |
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Sosnowska lives in Warsaw. She studied in the painting department at Poznan, but during her final years at the academy she found that the ‘painting started to escape her canvas.’<ref>Monika Sosnowska, www.culture.pl (http://www.culture.pl/en/culture/artykuly/os_sosnowska_monika)</ref> She began to create works that played with both two-dimensional painting and three-dimensional space, finally giving up the canvas altogether and instead using the space itself as a sort of 3-D painting. |
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She lives in Warsaw. Her art us represented by the [[Foksal Gallery Foundation]]. She painted at Poznan , but as she states that painting began to lose her. After she began integrating her works by fusing painting and space to make her paintings 3-d. Part of her Architectural work is shown at the [[Serpentine Gallery]].<ref>http://thinkingaboutart.blogs.com/art/2005/01/monika_sosnowsk.html</ref> |
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Sosnowska treats space as a medium for her works, always designing projects to fit into a specific space. Often she modifies pre-existent architecture, transforming the physical space into mental space and playing with the viewer’s perceptions. She has explained: ‘I am especially interested in the moments when architectural space begins to take on the characteristics of mental space.’<ref>Monika Sosnowska, “Mala Alicja”, (http://www.csw.art.pl)</ref> |
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Her artwork is subject to destruction after production. She created "The Additional Illumination" in Amsterdam in 2000. This piece consisted of hundreds of lamps placed atop the Royal Academy of Art's highest roof. In the same year she created her work "Partly Non-Existent Space" where one peered through a glass door into a sunk black depressed room. Also in her work "Alice in Wonderland" she made four rooms in Victorian style that disappears falls into a small room the size of a mouse. In 2003 she took part in the 50th [[Venice Biennale's]] exhibition.<ref>http://www.culture.pl/en/culture/artykuly/os_sosnowska_monika</ref> |
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==See also== |
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==Key works== |
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In 2003 she took part in the 50th Venice Biennale, contributing The Corridor to the Arsenale exhibition ‘Clandestine’, curated by [http://it.wikipedia.org/wiki/Francesco_Bonami Francesco Bonami]. Sosnowska created an architectural intervention that was also an optical illusion. Her institutional-looking corridor appeared to stretch on a long distance and it was only upon entering it that the viewer realized that the space became narrower and lower making it impossible to reach the doors at the end and remain upright. |
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In 2007 Sosnowska represented Poland at the 52nd International Venice Biennale, presenting ‘1:1’ which crammed a bent fragment of modern architecture into the Polonia Pavilion, a 1930s building. Sosnowska wrote: ‘It should look as if two buildings have been constructed in the same space and have to live in symbiosis, or rather to parasite on each other. To fight, or rather to wrestle with each other. In reality my intention is to create a surreal and impossible situation.’<ref>Monika Sosnowska, ‘Monika Sosnowska 1:1’, 2007</ref> |
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Other major international exhibitions by Sosnowska include a solo show at New York's [[Museum of Modern Art]] in 2006, for which she used the existing space to create a three-dimensional sculpture of geometric forms; [http://www.kunstmuseum.li/?page=2106&lan=en&aid=302&jahr=2007&monat=&art=vergangene ‘Loop’ at Kunstmuseum Liechtenstein] in 2007, a Moebius strip-like architectural intervention; ‘Monika Sosnowska, Andrea Zittel. 1:1’ at [http://www.schaulager.org/ Schaulager, Basel], in 2008; and ‘Untitled’ for [http://www.kunstsammlung.de/ K21 Ständehaus], Kunstsammlung Nordrhein-Westfalen, Dusseldorf, a de Chirico-esque response to the extraordinary architecture and history of the museum, on display until 15 April 2012. |
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==External Links== |
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[[Bâloise Prize]]<br /> |
[[Bâloise Prize]]<br /> |
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[[Polityka's Passport]]<br /> |
[[Polityka's Passport]]<br /> |
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[[Foksal Gallery Foundation]] |
[[Foksal Gallery Foundation]] |
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[http://www.galerie-capitain.com/ Galerie Gisela Capitan] |
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[http://www.hauserwirth.com/ Hauser & Wirth] |
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[http://www.kurimanzutto.com/english/index.html Kurimanzutto] |
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[http://www.themoderninstitute.com/ Modern Institute] |
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== References == |
== References == |
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Revision as of 11:02, 29 September 2010
Monika Sosnowska was born 1972 in Ryki, Poland. She studied at the Painting Department of the Academy of Fine Arts in Poznan (1993–1998), and the Rijksakademie van Beeldende Kunsten in Amsterdam (1999–2000. In 2003 she received the Bâloise Prize at Art Basel as well as the Polityka's Passport award given by Poland’s most prestigious weekly.
Sosnowska lives in Warsaw. She studied in the painting department at Poznan, but during her final years at the academy she found that the ‘painting started to escape her canvas.’[1] She began to create works that played with both two-dimensional painting and three-dimensional space, finally giving up the canvas altogether and instead using the space itself as a sort of 3-D painting.
Sosnowska treats space as a medium for her works, always designing projects to fit into a specific space. Often she modifies pre-existent architecture, transforming the physical space into mental space and playing with the viewer’s perceptions. She has explained: ‘I am especially interested in the moments when architectural space begins to take on the characteristics of mental space.’[2]
Key works
In 2003 she took part in the 50th Venice Biennale, contributing The Corridor to the Arsenale exhibition ‘Clandestine’, curated by Francesco Bonami. Sosnowska created an architectural intervention that was also an optical illusion. Her institutional-looking corridor appeared to stretch on a long distance and it was only upon entering it that the viewer realized that the space became narrower and lower making it impossible to reach the doors at the end and remain upright.
In 2007 Sosnowska represented Poland at the 52nd International Venice Biennale, presenting ‘1:1’ which crammed a bent fragment of modern architecture into the Polonia Pavilion, a 1930s building. Sosnowska wrote: ‘It should look as if two buildings have been constructed in the same space and have to live in symbiosis, or rather to parasite on each other. To fight, or rather to wrestle with each other. In reality my intention is to create a surreal and impossible situation.’[3]
Other major international exhibitions by Sosnowska include a solo show at New York's Museum of Modern Art in 2006, for which she used the existing space to create a three-dimensional sculpture of geometric forms; ‘Loop’ at Kunstmuseum Liechtenstein in 2007, a Moebius strip-like architectural intervention; ‘Monika Sosnowska, Andrea Zittel. 1:1’ at Schaulager, Basel, in 2008; and ‘Untitled’ for K21 Ständehaus, Kunstsammlung Nordrhein-Westfalen, Dusseldorf, a de Chirico-esque response to the extraordinary architecture and history of the museum, on display until 15 April 2012.
External Links
References
- ^ Monika Sosnowska, www.culture.pl (http://www.culture.pl/en/culture/artykuly/os_sosnowska_monika)
- ^ Monika Sosnowska, “Mala Alicja”, (http://www.csw.art.pl)
- ^ Monika Sosnowska, ‘Monika Sosnowska 1:1’, 2007
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