to lose their radiance in the continuity of time. Mass media such as magazines and journals are creative sources that Bonvie utilizes, both in terms of content and imagery.
In the Stock Exchange work group (Börsenarbeiten), Bonvie implements the Internet as an imagery resource for the first time. By means of screen shots, he adapts information taken from the infinite source of the Net and creates allegories exploiting both the abstract and pragmatic nature of economic capital.
At first glance, "Börsenarbeit I (01.02-28.02.01)” consists of a framework of innumerable arrows: positive green, negative red, neutral gray. Throughout several weeks Bonvie "photographed” the developments of individual stocks and indexes that he had invested in, whereas they are freed of all information pertaining to money matters. Bonvie made his investments after consulting pertinent financial newspapers, in addition to the respective home pages of the companies he invested in, two on-line brokers, and finally the "Frankfurter Allgemeine Zeitung”. As with any other investor, Bonvie ventured to gain a comprehensive view of the market.
In "Börsenarbeit III (20.02-07.03.01)” Bonvie chose another form of representation. In this variation the complimentary colors of the red and green arrows dominate the yellow		 background. The image is nonetheless dictated by the economic develop-ments, thereby determining Bonvie’s pictorial organization. By using himself as the experimental subject, Bonvie delivers himself unto the control of the stock market in all its consequences and administers the resulting parameters, as On Kawara does with his date paintings.
A straightforward example of economic recession can be found in the three "Handelsblattarbeiten 1-3, 2001”. In this case Bonvie collected the images that are displayed when opening the Internet home page from the economic daily news journal "Handelsblatt”. He worked this collection of photographs, illustrations and graphics that are changed each day on the "Handelsblatt” web page into an overall composition. As if in a time-warp, one can read the rather dramatic stock exchange developments historically, for example the drop in market values triggered by the Afghan war or events in world politics, such as the introduction of the Euro. Bonvie’s work signifies the need to create an abstract response to every piece of information.
Several of the logo variations are strikingly unambiguous and familiar, calling to mind repressed associations and images. Yet they cannot outrun the tide of information overkill.The voices at the openings remain silent.

Thomas Seelig