Monika Sosnowska’s crumpled, hulking sculptures often manifest a fossil-like quality. Resting solemnly in Hauser & Wirth’s cavernous space, a shiny black-steel carcass bisected the opening gallery, its studded spine rising and falling atop a tangle of twisted ribs. But the thirty-five-foot-long piece was in fact a twisted industrial staircase (correspondingly titled Stairs, 2016): Its front rested partially and helplessly on its stringer while its back balanced precariously on splayed treads. Installed nearby, Handrail, 2016, consisted of loop after torqued loop of a cochineal ribbon of PVC wound along the gallery’s north and east walls. Turning a corner, the graphic ribbon led to a back gallery where it straightened out onto a horizontal axisrevealing its titular self.
As she has done throughout her career, Sosnowska crafted the six Brutalist sculptures featured at Hauser
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