The artist's work explores issues of control, gender, space, surveillance and power.
Just over a decade ago a mysterious mirrored box arrived across the road from Tate Britain. Inquisitive passers-by were bemused to find that this reflective cubicle contained a prison toilet, free for public use. There was one catch; the outhouse featured one-way glass that forced patrons to endure the uncomfortable sensation of conducting their business while fully exposed on the Millbank pavement.
Unsurprisingly, this controversial lavatory garnered much media attention, and Don’t Miss A Sec remains one of Monica Bonvinci’s most famous works.
She is known for her bold, often aggressive sculpture that question relationships between psychoanalysis, sexuality and architecture, but always infused with a wry sense of humour. '[It] has a lot do to with teasing, both the audience and myself.
'It’s not about a statement or a joke that’s perfect for the weekly news, but about, at least in the good cases, creating a state of timeless instability, or of non-judgment, or even something very close to embarrassment.'
Her monographic exhibition at Baltic is conceived of new, site-specific works, along with key pieces such as NOT FOR YOU. This gigantic sign made of dazzling light bulbs positively screams hostility, while offering a tongue-in-cheek inquiry into who contemporary art genuinely serves.