Monika Sosnowska
About
Monika Sosnowska
Born in Ryki, Poland
Monika Sosnowska lives and works in Warsaw
Monika Sosnowska exhibited at EMMA – Espoo Museum of Modern Art, Espoo , Centrum Paul Klee, Bern , Kunstraum Dornbirn, Dornbirn , Garage Museum of Contemporary Art, Moscow, Zachęta – National Gallery of Art, Warsaw, both , Museu de Arte Contemporânea de Serralves, Porto , Ginza Maison Hermès, Le Forum, Tokyo , Aspen Art Museum , The Cleveland Museum of Art , Schaulager, Basel , Museum of Modern Art, New York and De Appel Centre for Contemporary Art, Amsterdam
Monika Sosnowska represented Poland at the 52nd Venice Biennale and participated again in at the 54th Venice Biennale.
Her works are included in the collections of Centre Pompidou, Paris, Fundação de Serralves, Porto, Stedelijk Museum, Amsterdam, Tate Modern, London, The Museum of Modern Art, New York, The Museum of Modern Art, Warsaw, Kunstsammlung NRW, Dusseldorf and Museo Tamayo, Mexico, among others.
Works
Untitled (from the series Market),
All Exhibitions
Exhibitions
News
Born in Ryki, Poland
Lives and works in Warsaw, Poland
Monika Sosnowska is a sculptor best known for her large, site-specific architectural installations created by appropriating and manipulating construction materials such as steel beams, concrete, rods and pipes. She creates impactful and elegant sculptures with playful elements that challenge the perception of the viewer. Sosnowska can be regarded not only as a sculptor but also as a designer of space, as her architectonic sculptures are designed and realised for specific sites and occasions. This specificity and impermanence are integral to her work.
Sosnowska is also interested in the interplay of architectural and mental space and the experience of spatial sensations, exploring this in a formally minimalist and conceptual sculptural language. Through this, she makes reference to and comments on modernism and its utopian ideals, specifically its architectural implementation and effect in her native Poland and surrounding Eastern European countries. She distorts and reassembles architectural materials, divorcing them from their former functionality to contradict the rational paradigm of modernism, and to c
Monika Sosnowska is known for her large-scale installations that challenge the boundaries between sculpture and architecture. Her works explore the relationship between physical space and the emotional experience of it. She often uses traditional building materials such as rebar, concrete or steel beams to create deformed structures that can be perceived as crumbling, unstable or collapsed. Sosnowska often references historical buildings to convey stories of societies in transformation. Through her unique artistic language and use of architecture as an artistic material, Monika Sosnowska has established herself as one of the most prominent contemporary artists from Europe.
Sosnowska represented Poland at the Venice Biennale in and has participated in the Biennale on several other occasions. Her works have been exhibited at Centre Pompidou, Serpentine Gallery, Hayward Gallery, Kiasma Museum of Contemporary Art, Sculpture Center New York, Migros Museum für Gegenwartskunst, Museum of Modern Art Warsaw and Kunstmuseum Basel, among others. Sosnowska has participated in biennials in Shanghai and Sharjah, as well as Desert X AlUla. In , Sosnowska was awarded the Baloise Art Prize and
Monika Sosnowska
August–September
In August , we welcomed Monika Sosnowska to our Roberts Institute of Art Residency.
While in residence, Monika worked at a smaller, more intimate scale than is usual in her practice, exploring the local area to inform possible new lines of enquiry and making.
Monika used the opportunity offered by the residency to shift her attention from urban architectural projects, for which she is well known, to engaging with the rural environment in Scotland. She looked at the land and the way it has been designed, altered, excavated and managed by both human-led and natural processes.
Monika’s investigation into the organic ‘architecture’ of growth and decay took her to the James Hutton Soil Institute, Aberdeen. She met Dr Allan Lilly, Senior Soil Scientist, to discuss how the soil has been mapped and recorded, while learning more about the peculiar characteristics of soil as a substance that supports life and is itself a living, complex network. Her resulting sketches and models reflect these organic systems of development, growth and transformation, that ranged from the undergrowth to the tree tops.
Through drawings,
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