Dominique Gonzalez-Foerster, 1887-2058 @ Centre Pompidou

MM, 2015 © Giasco Bertoli and Dominique Gonzalez-Foerster © ADAGP, Paris 2015

Euqinimod & costumes, 2014, installation view, © Grégoire Vieille © Adagp, Paris 2015

Espace 77, with participation of Philippe Parreno, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Brasilia Hall, 1998, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Chronotopes & Dioramas (Desertic), 2009, in collaboration with Joianne Bittle, 2009; installation view Centre Pompidou © Grégoire Vieille © Adagp, Paris 2015

Séances biographiques, 2015 , installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Une chambre en ville, 1996, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Otello 1887, film, 25’31’’, 2015, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Constantin & Florence (jardin Brancusi), 2015, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Dublinesca, 2002, detail, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Euqinimod & costumes, 2014, installation view, © Grégoire Vieille © Adagp, Paris 2015

RWF (chambre), environnement, 1993, installation view, © Grégoire Vieille © Adagp, Paris 2015

Nos années 70 (chambre), 1992, installation view, © Grégoire Vieille © Adagp, Paris 2015

La Loge (Numéro bleu), 1993, © Grégoire Vieille © Adagp, Paris 2015

Promenade, with Christophe van Huffel, 2007, installation view, © Grégoire Vieille © Adagp, Paris 2015

M.2062 (Fitzcarraldo), 2014, installation view, © Grégoire Vieille © Adagp, Paris 2015

Atomic Park, film, 8’14’’, 2004, © Dominique Gonzalez-Foerster © Anna Sanders Films/Camera Lucida Productions/Dominique Gonzalez-Foerster © ADAGP, Paris 2015

MM, 2015 © Giasco Bertoli and Dominique Gonzalez-Foerster © ADAGP, Paris 2015

Euqinimod & costumes, 2014, installation view, © Grégoire Vieille © Adagp, Paris 2015

Espace 77, with participation of Philippe Parreno, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Brasilia Hall, 1998, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Chronotopes & Dioramas (Desertic), 2009, in collaboration with Joianne Bittle, 2009; installation view Centre Pompidou © Grégoire Vieille © Adagp, Paris 2015

Séances biographiques, 2015 , installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Une chambre en ville, 1996, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Otello 1887, film, 25’31’’, 2015, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Constantin & Florence (jardin Brancusi), 2015, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Dublinesca, 2002, detail, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

Euqinimod & costumes, 2014, installation view, © Grégoire Vieille © Adagp, Paris 2015

RWF (chambre), environnement, 1993, installation view, © Grégoire Vieille © Adagp, Paris 2015

Nos années 70 (chambre), 1992, installation view, © Grégoire Vieille © Adagp, Paris 2015

Nos années 70 (chambre), 1992, installation view, © Grégoire Vieille © Adagp, Paris 2015

La Loge (Numéro bleu), 1993, © Grégoire Vieille © Adagp, Paris 2015

Promenade, with Christophe van Huffel, 2007, installation view, © Grégoire Vieille © Adagp, Paris 2015

M.2062 (Fitzcarraldo), 2014, installation view, © Grégoire Vieille © Adagp, Paris 2015

Atomic Park, film, 8’14’’, 2004, © Dominique Gonzalez-Foerster © Anna Sanders Films/Camera Lucida Productions/Dominique Gonzalez-Foerster © ADAGP, Paris 2015

Dominique Gonzalez-Foerster
1887 - 2058

23 September 2015 - 1st February 2016

Centre Pompidou, Paris

The Centre Pompidou is devoting a both forward-looking and retrospective exhibition of the work of Dominique Gonzalez-Foerster, presenting some 30 connected works in spaces both inside and outside of the museum. The artist will create a spatiotemporal labyrinth of rooms and environments, a theatre of sounds and perceptions, a multi-faceted story.

Dominique Gonzalez-Foerster, 1887-2058 displays an "open" timeline from 1887 to 2058, and extends the idea of the retrospective by combining different centuries and climates. The exhibition begins in the late 19th century; journeys through the experiments of the 20th century, and projects viewers into landscapes and interiors in turn desert - like or tropical, biographical or dystopian.

- press text -

People

Shimabuku, Christmas in the Southern Hemisphere , 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Shimabuku, Christmas in the Southern Hemisphere, 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Places to Travel Slowly: An Interview with Shimabuku

An artist of chance encounters muses about the intimacy of dirt, world-record mountaineering, and art that opens up the body’s every cell.

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Whitney Claflin, Writer’s Block , 2023, vinyl on plexiglass, stretchfoil; four panels, each 119 x 119 cm. Courtesy: the artist and DREI, Cologne

Whitney Claflin, Writer’s Block, 2023, vinyl on plexiglass, stretchfoil; Installation view, Galerie Layr. Courtesy: the artist and Drei, Cologne

Correspondences: Curated by and viennacontemporary 2023

Ringing out the summer, the Viennese art world’s own Philip Marlowe sleuthed across the hardboiled city, looking for the traces of the evasive Neutral.

Discourse

Photo: Gucci “Twinsburg” SS 2023

Theory of Style: On Looking Like

What is it like to “like” in the era of influencer fashion? Does desiring to emulate mean accepting one’s artificial self? In her September column, Joanna Walsh considers the difference between looking and being “like.”

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Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Archipelago of Other Knowledges

Spread over a wooded coastal island, the second Helsinki Biennial posits flora and soil as more potent agents of politics than language-based art activists.

Things we like

VALIE EXPORT, Körperkonfiguration , 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

VALIE EXPORT, Körperkonfiguration, 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

5 Shows On Our Radar

Spoilt for choice by Berlin Art Week and Gallery Weekend Festival? Spike tabbed through the capital’s stacked exhibition schedule for what to see with fresh eyes in the coming days.

Discourse

Britney Spears objects with an umbrella to a paparazzo’s behavior, 2006

Britney Spears to a paparazzo’s behavior with an umbrella, 2007

The Internet is Forever

In the mistake culture produced by an era of surveillance, our idea of the good isn’t defined by action, but its appearance, and the power to make truth boils down to who keeps the receipts. By Matilda Lin Berke

People

Anna-Sophie Berger,  Untitled, Alexander Berger 1979 , 2023, C-print, 162.6 x 106.6. cm. Courtesy: Anna-Sophie Berger and Emanuel Layr, Vienna. Photo: Kunstdokumentation

Anna-Sophie Berger, Untitled, Alexander Berger 1979, 2023, c-print, 162.5 x 106.5 cm. All images courtesy: the artist and Emanuel Layr, Vienna. Photos: Kunstdokumentation

Moral Fables: An Interview with Anna-Sophie Berger

Is legibility in art a violent demand? During her latest solo show at Emanuel Layr, Vienna, Anna-Sophie Berger spoke about bad faith, harmful language, and fashion’s rapport with death.

Things we like

Julia Scher, Greta , 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

Julia Scher, Greta, 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

5 Shows On Our Radar

Phones from a dog’s eyes, knock-off poetry, and archives archives archives: Spike’s editors recommend four shows and one walking tour during Munich’s marquee art event “VARIOUS OTHERS.”

Discourse

#76

Joan Didion’s pair of Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Joan Didion’s Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Second-Hand Lifestyles

In times of it-girl inflation, everyone wants to live in a celebrity’s skin. Who better than Joan Didion to burst that bubble? Her spirit explains why style survives death and serious (prose-) stylists only buy Kim Kardashian’s shapewear.

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#76

Left: Pablo Picasso, The Sculptor , 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman , 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Left: Pablo Picasso, The Sculptor, 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman, 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Sorry Not Sorry

Warming over Hannah Gadsby’s stand-up Picasso takedown from 2018, “It’s Pablo-matic” undermines the Brooklyn Museum’s own staff and even gatekeeps the privileges of non-expertise.

People

#33

Nicole Eisenman, Sloppy Bar Room Kiss , 2011, oil on canvas, 99 x 122 cm. Courtesy:  the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Nicole Eisenman, Sloppy Bar Room Kiss, 2011, oil on canvas, 99 x 122 cm. Courtesy: the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Heavy Painting

Joanna Fiduccia’s portrait in Spike #33 of Nicole Eisenman, now the subject of a retrospective at Museum Brandhorst, Munich, snapshots her first forays into printmaking and her opening of the body unto intimacy.

"Our identity could become an idol that we sculpt anew each morning from the digital clay"

The Downward Spiral: The Figure Cannot Hold

Dominique Gonzalez-Foerster, 1887-2058 @ Centre Pompidou

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