• Steel • Fabric • Aluminum • stainless steel • wood 4.

It also includes important works from previous decades that led to the development of this body of work. Cell XXVI, 2003 (detail) Steel, fabric, aluminum, stainless steel and wood 252.7 x 434.3 x 304.8 cm Collection Gemeentemuseum Den Haag, The Netherlands Photo: Christopher Burke How has the composition of the work been organised? Internet Explorer 11 or greater In Cell XXVI, 2003, a jute spiral doll hangs in front of a mirror. Following its presentation in Haus der Kunst, "Louise Bourgeois. The term “Cell” originated during the preparations for the Carnegie exhibition. Louise Bourgeois präsentierte „Cell I“ bis „Cell VI“ zum ersten Mal auf der Carnegie International in Pittsburgh.

There is this urge to integrate, merge, or disintegrate." Für sie symbolisierten die Zellen physischen, emotionalen und psychologischen, aber auch mentalen und intellektuellen Schmerz. Louise Joséphine Bourgeois, née à Paris le 25 décembre 1911 et morte à New York le 31 mai 2010 [1], est une sculptrice et plasticienne française, naturalisée américaine [2]. Richard Artschwager, Louise Bourgeois, Roni Horn, Allan McCollum

8. In an artistic career spanning seven decades, Louise Bourgeois (1911, Paris–2010, New York) created a unique body of work in a wide range of form, material and scale. Structures of Existence: The Cells" will be on view in the Garage Museum of Contemporary Art in Moscow (25.09.15 – 07.02.16) as well as in the Guggenheim Museum in Bilbao (18.03 – 04.09.16) and the Louisiana Museum of Modern Art, Humlebaek (13.10.16 – 26.02.17). Spiegel und Textilien sind wiederkehrende Elemente im Zellenkosmos der Künstlerin. As carnal as it is symbolic, Bourgeois explains that “Cells” represent different types of pain: the physical, the emotional and the psychological, the mental and the intellectual. Afgezien van drie vroege werken in het Kröller-Müller Museum was nog geen werk van Louise Bourgeois (1911-2010) in de Collectie Nederland opgenomen.
It’s a never-ending circle.

Als eine Art Selbstporträt kann man Louise Bourgeois' "CELL XXVI" verstehen. Further, her work helped shift critical discourse to encompass psychoanalysis and feminism, theories that have since become prevalent in the artistic language of contemporary art today.

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Louise Bourgeois’s concepts and formal inventions, such as her engagement with psychoanalysis and feminism, and her use of environmental installation and theatrical formats, have since become key positions in contemporary art.

In order to deliver the greatest experience to our visitors we use cutting edge web development A prime example of this is the Cells, a series comprising approximately 60 unique pieces that Louise Bourgeois began in 1986 with Articulated Lair. 2016 - Louise Bourgeois | Cells portrait | Guggenheim Museum Bilbao. Like a prison, the caged walls enforce a rigid form of solitude while offering only partial views of the outside world. Louise Bourgeois präsentierte „Cell I“ bis „Cell VI“ zum ersten Mal auf der Carnegie International in Pittsburgh. Si on s’en tient à la définition classique, un portrait représente l’aspect d’une personne concrète. When does the physical become emotional? The hand-sewn patchwork heads in Bourgeois’s custom-built Structures of Existence: The Cells “Cell XXVI” is one of several freestanding installations by Louise Bourgeois. It's a circle going round and round. In Cell (The Last Climb), an open door leads into a rusty wire cage.

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