Ian Monroe renders the promise and disappointment of modernity in its own language.
Deploying perspective and the viewer's expectation of volumetric space, the artist's
depictions of cavernous but illusionary places propose that the project of utopian
desire, however internally erroneous and eternally alienating, continues, wherein man
is not only absent, but turned away. For most of us Architecture is handed down to us
from above, needs are assumed, demographics consulted, and made manifest in
concrete and fibre-optics, the result being tantalizingly limitless and malleable, but this
is a potential energy only. We are all nomads of the lobby, the computer game, the
banking system; locations through which both ourselves and our production pass, but
systems whose ultimate success depends on us leaving no mark, no disturbance. On
his own work Monroe comments, “Like the invisible yet immense forces in a sub-
basement column of a skyscraper, there is a liminal inertia that surrounds us. Physics
tells us that in any system, for every amount of order there has to be an equal
disordering, and thus the future is inevitably tinged with melancholy, no matter how
crisp and fluorescent.”

2002 M.A. Goldsmiths College, University of London, UK
1995 B.A. Washington University in St. Louis, Missouri, USA

Solo Exhibitions
“Planit” Haunch of Venison, London
“All Possibilities Are Visible But Unknown”, Upstairs Berlin, Berlin
“They Built Upon It” Haunch of Venison, London
“Ian Monroe” Haunch of Venison, Zurich
"Ian Monroe" Hammer Sidi Gallery, London

Selected Group Exhibitions
"Existencias", Museo De Arte Contemporaneo De Castilla Y Leon, Leon, Spain
“Design for Living”, Initial Access, Wolverhampton, England
“Raumwelten", Kunsthalle Arnstadt, Arnstadt, Germany
"Odd Spaces", Galerie Møller Witt, Aarhus, Denmark
Recent Acquisitions, Hamburger Banhof, Berlin, Germany
“The City is Not a Tree” Alon Segev Gallery, Tel-Aviv, Israel
“Slider” Cell Projects, London
“Ian Monroe and Emma Stibbon: Utopian Architecture”, Upstairs Berlin, Germany
"Infrastructure" Studio Voltaire, London
“Winterzauber” Upstairs Berlin, Germany
“Edge of the Real”, The Whitechapel, London
“Selected Sculpture” MW Projects, London
“Cinderella” Trailer Projects, London
“Contra Pop” Vamiali’s Gallery, Athens, Greece
“Bag Lady” Cell Projects, London
“Reduced” Century Gallery, London
“Debris” Martinez Gallery, Brooklyn
“Godzilla” Trailer Projects, London
Saatchi Gallery, County Hall, London
“The Queen Mum Show” One in the Other Gallery, London
“Chockerfuckinblocked” Jeffery Charles Gallery, London
“RSVP” 5 Cork Street, London
“Present” Hammer Sidi Gallery, London
“The Way to Happiness” VTO Gallery, London
“Trailer Presents, Guns and Roses” Trailer Projects, London
“Lend us £100m” 21 Dingley Road, London

Selected Publications
The Independent on Sunday, “The Conquest of Space”, Charles Darwent, March 11 2007
Lowdown Magazine, “Ian Monroe, The Infinity of the Moment as Space”, Thomas Marecki, Nr. 55  
February-March 2007
Allegemeiner Anzeiger, “Podium fur Junge Kunstler”, January 2007
Lapiz. Revista Internacional de Arte, “Ian Monroe”, David Ulrichs, December 2006
"Twelve Footnotes for Ian Monroe", Tom Morton, Show Catalog, Haunch of Venison, Zurich
"Ian Monroe's Architecture", Barry Schwabsky, Show Catalog "They Built Upon It", Haunch of Venison
Modern Painters, “All in the Best Bad Taste” Sally O’reilly, Dec 2004-Jan 2005
Art Monthly, “Anyway”, Bruce Haines, May 2004, number 276
Contemporary, “The Queen Mum Show” Jamie Lau, issue 53/54
The Times, “New Blood at RA Summer Show Gets Old Blood Boiling” Dalya Alberge, May 29
The Royal Academy of Arts Magazine, “Summer Exhibition” Sebastian Smee, Summer 2003, no. 79
Arena, “The Boom”, Tom Morton, July, number 136
The Spectator, “Formidable Power”, Andrew Lambirth, May 17
Art Review, “Saatchi’s New Sensation”, Meredith Etherinton-Smith, May
Evening Standard, Metro Life, “The Saatchi Effect” Hephzibah Anderson, April 18
The Observer, “Space Traveller”, Alison Roberts, April 20
Telegraph Magazine, “Adventures in Saatchiland”, Colin Gleadell, March 29
The Sunday Times, “Saatchi’s Rival to the Tate Takes Shape” Richard Brooks, September 8
Time Out London. “Present, Hammer Sidi” Martin Herbert, October 23
Art Review, “Art Graduate, Class of 2002”, June