Pipilotti Rist

Luhring Augustine / Public Art Fund, Times Square, New York

A WHOLE NEW INTERIOR REALM, both uncanny and funny, opened up to visitors of Pipilotti Rist's latest installations at Luhring Augustine. At first, the simulated domestic layout seemed ordinary enough: Viewers entered via a kitchen, proceeded through a living room, a bar, two other rooms, and finally on to a bathroom. Yet this was no simple house, but a fantasy site of visual and psychic projection, produced from a feminine point of view that was as intriguing as it was unexpected.

Woman in general—and Rist's own experience in particular—has always been at the core of the artist's work. From her underwater (auto)erotic fantasy Sip My Ocean, 1996, to her depiction of a woman joyfully smashing car windshields with an iron flower (Ever Is Over All, 1997), Rist's video-based productions have provided numerous examples of female insubordination. But the recent installations represented

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