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Monica Bonvicini, Furious Knitting #2, 2019, silk-screen print on aluminum, 29 1⁄2 × 39 5⁄8".

Monica Bonvicini, Furious Knitting #2, 2019, silk-screen print on aluminum, 29 1⁄2 × 39 5⁄8".

Monica Bonvicini

Galerie Peter Kilchmann

A leather belt, broad, black, and with a pronounced buckle, might be just a way to keep trousers up, but contemplated in the right (or wrong) context, the same strip of leather can recall a whip, a restraint, or a lolling canine tongue. Film footage of a man slowly taking off a belt might represent the meditative act of a tired person undressing to sleep. It could also anticipate the release of the anger of a paterfamilias about to issue corporal punishment, or it might be a precursor to a sexual act; in Monica Bonvicini’s cosmos, all these associations are present. It may seem like nasty territory, and familiar in all senses of the word, but Bonvicini never forgets that the masochist also has agency, and she holds open the possibility of play, of the sex club as a liberatory theater. This potential is broadcast by the exuberant title of her recent exhibition, “bind me! torture me!”

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