Pawel_Althamer | Michael_Asher | Nairy_Baghramian | Guy_Ben-Ner | Guillaume_Bijl | Martin_Boyce | Jeremy Deller | Michael_Elmgreen und Ingar_Dragset | Hans-Peter_Feldmann | Dora_Garcia |
Isa_Genzken | Dominique_Gonzalez-Foerster | Tue_Greenfort | David_Hammons | Valérie_Jouve | Mike_Kelley | Suchan Kinoshita | Marko_Lehanka | Gustav_Metzger | Eva_Meyer und Eran_Schaerf | Deimantas_Narkevicius | Bruce_Nauman | Maria_Pask |
Manfred_Pernice | Susan_Philipsz | Martha_Rosler | Thomas_Schütte | Andreas_Siekmann | Rosemarie_Trockel | Silke_Wagner | Mark_Wallinger | Clemens von Wedemeyer | Annette_Wehrmann | Pae_White
*1965 in Strasbourg,, France, lives and works in Paris and Rio de Janeiro
Every ten years, the Skulptur Projekte show us a different Münster for 100 days. “A laboratory experiment which, so far, has not produced a theory that could be used for anything,” Daniel Buren wrote in his contribution to the 1997 catalogue. But Dominique Gonzales-Foerster is not looking for the theoretical underpinnings of things. Rather, in her “experiential exhibition” she tells us her version of the history of the Skulptur Projekte and their meaning. With its curved slopes, the promenade along the razed former city wall offers a natural setting for her project. The artist presents a theme park composed of 1:4-scale replicas of selected sculptures from past Skulptur Projekte exhibitions – concrete and metal quotations of the original works. Every object is a precise reproduction of the original and is set in relation to the others. Once more the visitors get to see Alighiero e Boetti’s Mann mit dampfendem Kopf (1997), Ilya Kabakov’s Sendemast (1997), and Thomas Schütte’s Kirschensäule (1987), which, even as models, reflect our relationship to the original objects. Dominique Gonzalez-Foerster is not adding any of her own works to the canon. “I’m more interested in articulating differences,” says the French artist and curator of this synopsis of past and present attractions.
Gonzalez-Foerster emphasises the transitory interspaces in our everyday environment. In her films, videos, photo series, and installations she focuses on their aesthetics, and goes beyond their potential dreariness. The artist is particularly interested in the establishing a meaningful relationship between place, object and the potential user. For documenta 11 she designed the "Park – A Plan for Escape" in the Karlsaue Park in Kassel in 2002. The installation consisted of fragments of the park and garden architecture of the 1960s: the typical lantern, a meandering path, a bench, a small pond made of concrete and painted blue, and a video projection hall, which served as an outside screen. Gonzalez-Foerster is interested in the aesthetic and action-oriented functionality of these fragments and rooms, which she re-enacts and interprets in her works.