Sunday 27 December 2015


MAM Rio de Janeiro, designed by Affonso Eduardo Reidy in 1953 and inaugurated in 1967

DGF as Fitzcarraldo at the entrance of the exhibition

Temporama, exhibition views


DGF as Marlyn Monroe inside the swimming pool of Temporama

the city of Rio as seen from the blue filter of Temporama

The Parque do Flamengo and the Pão de Açucar as seen from the red filter of Temporama

a rock from the Burle Marx garden below inside the exhibition room

untitled 1985/2015
vase and lily flower on radioclock

untitled 1985/2015
books, bricks and wood

the red desert 1991/2015
red carpets

untitled 1987/2015
plastic buckets and architect lamps

untitled 1987/2015
tennis balls and glass screen

untitled 1985/2015
two telephones

plage parallele 1999/2015
two towels

untitled 1987/2015
aluminium objects and survival blanket

untitled 1985/2015
wood structure
(AE=eternal love (amor eterno))

abstract handkerchief 1986/2015

untitled 1986/2015
carpet on wall and carpet column

vitrine with original documents and photographs of when the works were first shown

visitors to the exhibition

DGF giving an interview

Dominique Gonzalez-Foerster and Pablo Leon de la Barra

night inside Temporama, game of reflections

Double Happiness neon 1999/2015
installed at Bar do Mineiro in Santa Teresa in Rio

Bar do Mineiro's Diogenes Paixão and Dominique Gonzalez-Foerster

20 de Junho a 09 de Agosto de 2015

Temporama is a chronotropic portrait of the artist as a young woman and brings back to life works done by Dominique Gonzalez-Foersterbetween 1985 and 1991, during and soon after her art school years; many of these works are being recreated for the very first time for this exhibition. The early works are full of incipient intuitions and immature desires, exploring ideas and materials that would with time become essential to the artist’s practice: the experience of time and space, the presence of horizontality and color, and the use of carpets, books, and domestic objects as constitutive and recurring elements within the work.

Temporama creates a time zone where the different works coexist, where the past is rethought and the future reimagined. More than an exhibition,Temporama is a time machine,but also an interior park and a garden, a swimming pool and a landscape.

As part of a new work created specially for MAM Rio, Gonzalez-Foerster appears as Marilyn Monroe in the famous skinny dip scene from her unfinished last movie,Something’s Got to Give (1962), with this connecting us back to the early modern days of the museum and the mid-sixties when Gonzalez-Foerster was born.

MAM’s glass facades covered with red and blue filters become like 3-D glasses that activate the space, allowing the landscape outside to merge with the exhibition space and the art works inside, which in Temporama all become transformed through cultural, artistic, architectural, and emotional metabolization.

Operating in the space between art, cinema, architecture, and literature, most of Gonzalez-Foerster’s work in the past three decades has been concerned with the possibility of physical and mental travel through space and time as a strategy for revealing an emotional understanding of space, memory, reality, and fiction. In a similar way to how she has inhabited rooms, moments, and places, Gonzalez-Foerster has recently embodied many different characters, including Lola Montez, King Ludwig II, Edgar Allan Poe, Bob Dylan, Vera Nabokov, and Fitzcarraldo.

Dominique Gonzalez-Foerster has exhibited all around the world since 1985. She lives between Paris and Rio de Janeiro, and her artistic thinking and practice have been deeply influenced by her experience of Rio. Since 1998 she has developed an extensive body of work related to Brazil, including four films and participations in the 2006 São Paulo Biennale and the 2013 Panorama da Arte Brasileira, both curated by Lisette Lagnado. Her site-specific installation, Desert Park (2010), is located in Inhotim, in Minas Gerais. Through her long-time conversation with Brazilian modern architecture and by showing very early works, Gonzalez-Foerster offers the opportunity to see MAM with different eyes as a setting for twentieth century experiencesand a place of origins and endless beginnings.

Pablo León de la Barra

The Swimming Pool soundtrack includes songs by Arto Lindsay, Cibelle, Miss Kittin, and Tetine. Temporama is a prelude to Gonzalez-Foerster’s retrospective taking place at Centre George Pompidou in Paris this September.

special acknowledgements
tristan bera, jens hoffmann, lisette lagnado, emma lavigne, denise milfont, esther schipper, jochen volz, david waddington, MAM team