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Dominique Gonzalez-Foerster, Splendide Hotel (annexe), 2015, mixed media. Installation view. Photo: Grégoire Vieille.

Dominique Gonzalez-Foerster

Centre Pompidou

Dominique Gonzalez-Foerster, Splendide Hotel (annexe), 2015, mixed media. Installation view. Photo: Grégoire Vieille.

In 1977, a twelve-year-old Dominique Gonzalez-Foerster visited Marcel Duchamp’s exhibition at the newly opened Centre Pompidou. Evoking this seminal experience at the threshold to her own Pompidou survey thirty-eight years later, Gonzalez-Foerster adhered a life-size transparent photograph of Duchamp’s show to a street-facing glass wall and retrofitted the abutting exhibition space with elements of the museum’s original decor. Inside this installation, Espace 77, 2015, viewers stand on period gray carpeting amid Michel Cadestin’s President armchairs and look through ghostly images of Duchamp’s Fountain, 1917/1964, and Large Glass, 1915–23, at the outside world. The eerie mise-en-scène (a collaboration with Philippe Parreno) merges past with present, confuses interior and exterior spaces, and conflates memory with reality. It is but one of many wormholes in Gonzalez-Foerster’s

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