fr en
<p>Absalon<br class='autobr' />
<i>Cellule habitable n°4</i>, 1992</p>
<p>Bruce Nauman<br class='autobr' />
<i>Office Edit II With Color Shift,<br class='autobr' />
Flip, Flop And Flip/Flop</i>, 2001</p>
<p>Bruce Nauman<br class='autobr' />
<i>Office Edit II With Color Shift,<br class='autobr' />
Flip, Flop And Flip/Flop</i>, 2001</p>
<p>Bruce Nauman<br class='autobr' />
<i>Office Edit II With Color Shift,<br class='autobr' />
Flip, Flop And Flip/Flop</i>, 2001</p>
<p>Bruce Nauman<br class='autobr' />
<i>Office Edit II With Color Shift,<br class='autobr' />
Flip, Flop And Flip/Flop</i>, 2001</p>
<p>Absalon<br class='autobr' />
<i>Cellule habitable n°4</i>, 1992</p>
<p>Bruce Nauman<br class='autobr' />
<i>Office Edit II With Color Shift,<br class='autobr' />
Flip, Flop And Flip/Flop</i>, 2001</p>
<p>Absalon<br class='autobr' />
<i>Cellule habitable n°4</i>, 1992</p>
<p>Absalon<br class='autobr' />
<i>Cellule habitable n°4</i>, 1992</p>
<p>Absalon<br class='autobr' />
<i>Cellule habitable n°4</i>, 1992</p>
<p>Absalon<br class='autobr' />
<i>Cellule habitable n°4</i>, 1992</p>
<p>Absalon<br class='autobr' />
<i>Cellule habitable n°4</i>, 1992</p>
<p>Gregor Schneider<br class='autobr' />
<i>u r 19 c, LIEBESLAUBE</i>,<br class='autobr' />
Rheydt 1995 - Berlin 2014</p>
<p>Gregor Schneider<br class='autobr' />
<i>u r 19 c, LIEBESLAUBE</i>,<br class='autobr' />
Rheydt 1995 - Berlin 2014</p>
<p>Gregor Schneider<br class='autobr' />
<i>u r 19 c, LIEBESLAUBE</i>,<br class='autobr' />
Rheydt 1995 - Berlin 2014</p>
<p>Gregor Schneider<br class='autobr' />
<i>u r 19 c, LIEBESLAUBE</i>,<br class='autobr' />
Rheydt 1995 - Berlin 2014</p>
<p>Gregor Schneider<br class='autobr' />
<i>u r 19 c, LIEBESLAUBE</i>,<br class='autobr' />
Rheydt 1995 - Berlin 2014</p>

Fundamentalist Cubes — 2018

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Fundamentalist Cubes
2018

Absalon, Bruce Nauman, Gregor Schneider
curator : Ory Dessau

The exhibition Fundamentalist Cubes focuses on the figure of the empty space in the work of Absalon, Bruce Nauman, and Gregor Schneider, where bare rooms, corridors, and other architectural settings undergo personification, becoming a body, a psychic structure. Rather than a symmetrical mirror, the personification of architectural settings in the work of the three artists turns empty spaces into an ambivalent reflection of a body, a mechanism of simultaneous assertion and negation, introducing presence in terms of absence, and vice versa.
Ory Dessau

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