Roman de Münster

Dominique Gonzalez-Foerster
June 16 – September 30, 2007

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Roman Mensing

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Roman Mensing

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster, 2007
39 objects, steel, wood, concrete, acrylic glass, brickwork

 

Photo © Thorsten Arendt

Roman de Münster

Dominique Gonzalez-Foerster
Skulptur Projekte Münster
June 16 – September 30, 2007
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Dominique Gonzalez-Foerster is not looking for the thoretical 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 the 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.

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