Bielefeld

Louise Bourgeois, Femme Maison, 1994, white marble, 4 1/2 x 12 1/4 x 2 5/8".

Louise Bourgeois, Femme Maison, 1994, white marble, 4 1/2 x 12 1/4 x 2 5/8".

Bielefeld

Louise Bourgeois

Kunsthalle Bielefeld
Artur-Ladebeck-Straße 5
March 12–June 5, 2006

Curated by Thomas Kellein

Louise Bourgeois has spent the better part of a century riffing off a cast of characters she’s mostly outlived: her family. Space, memory, and the body are incorporated in her notion of family romance and summed up in the term “femme maison,” the housed or trapped body. Bourgeois’s initial “Femme Maison,” a series of drawings fusing architecture and the female figure, appeared in the mid-’40s, and since then she has successfully straddled time periods and absorbed everything from Freudian Surrealism to process art and feminism. Included in this 120-work retrospective are fifteen paintings from 1936 to 1945 that have never been shown, as well as Fillette (Sweeter Version), 1968/1999, a latex-covered phallus based on the original Fillette, and the famous Destruction of the Father, 1974, a spore-covered altar she created a year after her husband’s death.