Escaped from literature, as the writer Enrique Vila Matas nicely writes about her, who makes her one of his heroines in three of his novels (Dublinesca, Impressions de Kassel and Marienbad électrique), Dominique Gonzalez Foerster, alias DGF, has always populated her work with characters – which she calls “Apparitions” -, fictions and libraries that are conceived as spaces open to the four winds, inverted mirrors of hushed and confined reading rooms.
For this new meeting orchestrated by the AOC team, the most literary of French visual artists, who was also at the heart of young Théo Casciani’s first novel two years ago (Rétine, P.O.L), opens the doors of her open-plan library where we are likely to come across, among others, Alain Robbe Grillet, Ballard or Edgar Allan Poe.
Dominique Gonzalez-Foerster’s work has been the subject of solo exhibitions at the Serpentine, London (2022); Secession, Vienna (2021); Academy of Media Arts Cologne, Cologne (2019); Museum of Art, Architecture and Technology, Lisbon (2016); Musée National d’Art Moderne, Centre Georges Pompidou, Paris (2015); Museum of Modern Art, Rio de Janeiro (2015); Nacional Centro De Arte Reina Sofia, Palacio De Cristal, Madrid (2014); Stedelijk Museum, Amsterdam (2013); Kunsthalle Zürich (2012); Tate Modern, London (2010); Dia Art Foundation, New York (2009); Musée d’Art Moderne de Paris (2007); deSingel International Arts Centre, Antwerp (2004); Museum Boijmans Van Beuningen, Rotterdam (2003); CAC Contemporary Arts Center, Cincinnati (2001); Le Consortium, Dijon (2001); mamco, Geneva (2000); Malmö (1996), among others.
Dominique Gonzalez-Foerster, la chambre humaine & la planète close, vue d’exposition, Galerie Chantal Crousel, Paris (2021). Photo: Martin Argyroglo.