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The Wind House


Monika Sosnowska (b.1972) lives and works in Warsaw, Poland. She is one of Poland’s leading contemporary artists and has in recent years has attained international renown. Sosnowska has exhibited world wide including The Sigmund Freud Museum 2005 in Vienna, Moma in New York and representing Poland in the Venice Biennale 2007. She will soon be exhibiting at Schaulager in Basel and Modern Institute in Glasgow.



Her work consists mainly of installations that are conceived for a specific site or event, and then disappear when the event is over. Sosnowska’s work has a direct link with architecture, but she approaches it from a very different perspective – it is in a sense “anti-architecture” something that is disruptive, and often brutal but also very poetic and beautiful.  Unlike architecture, her structures and spaces serve no function, instead, they create a physical experience and an opportunity for the play of imagination. Her manipulation of form, planes and surfaces often makes you feel as if you have walked into an off-kilter Constructivist painting.


Freud MuseumSosnowska’s installations and sculptures echo the formal language of the constructivist and minimal art of the 1960’s and 1970’s as well as that of Modernist architecture. She challenges the formal aspects as well as the emotional intensity of spaces and architectural environments, often resulting in architectural failings or dysfunctional spaces -  for example her earlier corridor works physically and psychologically transform orderly gallery spaces into a composition of claustrophobic, and ambiguously looping corridors. Her recent 1:1 installation at the 2007 Venice Biennale jammed the steel architectural skeleton of a Modernist pavilion inside the Polish pavilion building to create a parasitic architectural hybrid.


Venice Biennale 2008“The Wind House” by Sosnowksa was very much influenced by Primrose Hill, where people come to fly kites, and the structure appears as if it has literally been sculpted by the wind. The form of the pavilion looks semi deconstructed, the walls are bent and the roof mangled and squashed appearing to have fallen down from the top of the hill. But rather than destroying an architectural building, the structure has been very carefully composed from small, multi-faceted wooden shapes to create an immaculately crafted, geometric, expressionist form.




For more information about the artist www.themoderninstitute.com



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