Monica Bonvincini

"You can avoid people, but you can't avoid architecture," says the artist Monica Bonvincini, best known for expressing architecture's dominating relationship to women via giant mirrored and lighted constructions of cement and stainless steel like 2010's She Lies in Oslo and 2012's Run in London's Olympic Park. Bonvincini's oeuvre also "alludes to the often hidden spaces of sexual desire and exhibitionism," exploring fetishism and S&M using bronze and resin sculptures and rubber and hanging chain pieces. The answers she gives in a lengthy interview with co-author Alberro helpfully elucidate her art%E2%80%94occasionally, too much so. Her pieces can stand perfectly well by themselves, particularly the massive constructs dramatically reproduced here in color photographs. Less successful is the Wallfuckin' series, which is more likely to induce nervous laughter than thought, and a 1999 installation of completed and framed questionnaires for people in the building trades, including the now-dated: "How do you get along with your gay colleagues?" While She Lies will float on its pontoons in the river Akerselva for many years, these smaller works are more fleeting. 200 illus. (July )