Louise Bourgeois’s "The Empty House"
              Kimberly Bradley
              It’s intimidating to review the work of an artist the stature of Louise Bourgeois, about whom so much has been written, to whom so much has been ascribed. Bourgeois’s life spanned nearly the entire twentieth century and helped redefine what a (feminist) artistic practice can be, how art can intertwine with life. Her legacy is outsized, but Berlin’s Schinkel Pavillon—a nonprofit art space in a GDR-era structure, run since 2007 by artist Nina Pohl—has put together a portrait of Bourgeois’s late work that is accessible and intimate. The pavilion’s main space, an octagonal room with floor-to-ceiling windows, hosts a single work: one of the “cells” that Bourgeois began making in the early 1990s. Peaux de Lapins, Chiffons Ferrailles a Vendre [Rabbit skins, Scrap Rags for Sale] (2006) is an oval metal cage in the room’s center containing other sculptures: two humanoid figures, hand-sewn in dark fabric, hang upside-down like voodoo dolls from an apparatus attached to the cell’s ceiling. Also suspended are textile sacks, mostly in shades of beige and cream (one is hot pink), arranged in flock-like groups. A thin stack of white marble stones ascends from the cell’s wood floor—atop this elegantly curved “spine” hangs an old-fashioned fur headband. …
              Dominique Gonzalez-Foerster’s “QM.15” and “Costumes & Wishes for the 21st Century”
              Antje Stahl
              I was sent into darkness. I couldn’t see a single thing. There was a fuzzy light right behind the gallery door illuminating press releases laid out on a small table, and a gallery staffer equipped with a small flashlight. But she simply pointed into the dark: “That way.” That way was Dominique Gonzalez-Foerster’s exhibition “QM.15” at Esther Schipper in Berlin. That way felt like a ghost hall. I heard a female voice singing an aria, but I had to pass by a life-sized moving image of a woman in a white uniform, fumbling my way along, before I fell over a rope that prevented me from reaching its source: an apparition of Maria Callas. A holographic illusion, to be more precise, of Dominique Gonzalez-Foerster playing Maria Callas: Opera (QM.15) (2016). I don’t have a particular passion for being blindfolded. I hate ghosts, and I also hate costumes. A day before Halloween, Berlin’s Schinkel Pavillon organized an event for people who are, I guess, excited about these things: a costume party as part of an exhibition. Produced by the artist in collaboration with the Berlin fashion designers BLESS and design studio Manuel Raeder, “Costumes & Wishes for the 21st Century” could be considered …

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