brescia-italy

View of “Monica Bonvicini,” 2013. Against wall: Straps & Mirror, 2010. On floor: Black You, 2010.

Monica Bonvicini

Galleria Massimo Minini

View of “Monica Bonvicini,” 2013. Against wall: Straps & Mirror, 2010. On floor: Black You, 2010.

Monica Bonvicini’s exhibition “Then to see the days again and night never never be too high” brought together a group of works that reasserted the basic assumptions of the artist’s creative path thus far. Addressing many of her recurrent themes as well as formal strategies, the show felt almost like a retrospective. Two rooms contained three sculptures from the series “7:30 hrs,” 1999–, which skillfully uses a spare and anti-rhetorical approach to confront the challenging issue of labor. These three-dimensional groupings were constructed by professional bricklayers following the instructions set forth in the standard examination for German apprentice masons. The basic materials used—bricks of sand and lime, combined with mortar—and the austere volumes that define their shapes place the sculptures somewhere between artisanal handicrafts and Minimalism, depending on how

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