Dominique Gonzalez-Foerster, ‘M.2062 (Edgar Allan Poe)’, 2013, Print, Print on blue back paper, Gwangju Biennale
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M.2062 (Edgar Allan Poe), 2013

Print on blue back paper
35 1/5 × 24 1/2 in
89.5 × 62.2 cm
Location
Gwangju
About the work
Gwangju Biennale
Gwangju

Le Palais de Tokyo, Paris.

Medium
Image rights
Photo by Giasco Bertoli. Courtesy of the artist
Dominique Gonzalez-Foerster
French, b. 1965
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Taking an experimental approach to the convention of the exhibition, Dominique Gonzalez-Foerster creates conceptually driven installations and videos that engage specific events grounded in ideas of time and space. “My approach to art is quite radical,” the Marcel Duchamp prize-winning artist has said. “It has more to do with theater and staging than making objects such as paintings or sculptures.” For her 2008-9 installation in Tate Modern’s Turbine Hall, Gonzalez-Foerster tapped into her long-standing interest in science fiction, imagining a post-apocalyptic version of London in which constant rain has turned the museum into a shelter for people and artworks. Filled with bunk beds, reproductions of public sculptures by Louise Bourgeois, Alexander Calder, and Henry Moore, and science fiction novels, the installation raises questions about the role and vitality of museums and art exhibitions in changing times.

Dominique Gonzalez-Foerster, ‘M.2062 (Edgar Allan Poe)’, 2013, Print, Print on blue back paper, Gwangju Biennale
Save
Save
View
View in room
Share
Share
About the work
Gwangju Biennale
Gwangju

Le Palais de Tokyo, Paris.

Medium
Image rights
Photo by Giasco Bertoli. Courtesy of the artist
Dominique Gonzalez-Foerster
French, b. 1965
Follow

Taking an experimental approach to the convention of the exhibition, Dominique Gonzalez-Foerster creates conceptually driven installations and videos that engage specific events grounded in ideas of time and space. “My approach to art is quite radical,” the Marcel Duchamp prize-winning artist has said. “It has more to do with theater and staging than making objects such as paintings or sculptures.” For her 2008-9 installation in Tate Modern’s Turbine Hall, Gonzalez-Foerster tapped into her long-standing interest in science fiction, imagining a post-apocalyptic version of London in which constant rain has turned the museum into a shelter for people and artworks. Filled with bunk beds, reproductions of public sculptures by Louise Bourgeois, Alexander Calder, and Henry Moore, and science fiction novels, the installation raises questions about the role and vitality of museums and art exhibitions in changing times.

M.2062 (Edgar Allan Poe), 2013

Print on blue back paper
35 1/5 × 24 1/2 in
89.5 × 62.2 cm
Location
Gwangju
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