Dominique Gonzalez-Foerster

“Romilly” follows a young girl in school uniform larking amongst the bunk beds in the Turbine Hall with a group of friends. We focus on her captivating face, her red hair and rosebud mouth, as she chats with her friends, looks at her hand-held screen, reclines, and sleeps on the bunks. - LEFFEST

Noreturn examines Gonzalez-Foerster's own 2008 Turbine Hall installation TH.2058, which imagined the gigantic space fifty years in the future as a dystopian nightmare of steel bunk beds under the watchful gaze of Louise Bourgeois' Spider, an H. R. Giger-like touch. In the video, she unleashes a group of schoolchildren on the installation and watch as they move from playfulness to a recognition of the installation's menace, finally huddling under a Henry Moore sculpture. - TIFF

In De Novo she turns the camera on herself, divulging the complicated thought processes behind the works she made for her five different invitations to present at the Venice Biennale. The video shows her unafraid to question the contexts of her own work in relationship to an ongoing inquiry into the nature of exhibition, exposition and narrative mythologies. - TIFF

세계인권선언 60주년을 맞아 유엔 인권고등판무관실(UNCHR)이 제안하고 ART for The World(NGO)가 제작한 인권에 관한 옴니버스 영화. 문화, 개발, 존엄과 정의, 환경, 젠더, 분배라는 6개의 테마로 한 22편의 단편으로 구성되어 있다. 세계적으로 유명한 영화감독, 예술가, 작가가 함께 작업한 대규모 프로젝트로 참여자들의 개성과 인권에 대한 시각을 엿볼 수 있다.

Gloria consists of a 5-minute looped tracking shot in a park in the centre of Rio, in Brazil. This park is a copy of a French-style garden, but does not have perfectly straight contours. The tropical climate and the abundance of the vegetation constantly overruns all human efforts to make it a sophisticated park. A woman’s voiceover soliloquises the tropicalisation of this garden and the possibilities for fictions that she could create in this place. - New Media Encyclopedia

For her contribution to the 2006 São Paulo Biennial, Dominique Gonzalez-Foerster used the work of Oscar Niemeyer as a starting point for an exploration of the relationship between the exhibition space and the urban context, through an intervention in which she reproduces and multiplies existing columns, reconfiguring the reading of the rhythm and proportions of modern architecture. The Marquise, in Sao Paulo’s Parque Ibirapuera, an enormous concrete canopy designed by Niemeyer in 1954, is therefore the subject and setting of this film, in which the artist reveals her interest in ‘tropical modernism’ and develops certain recurrent themes in her work, such as ideas of shelter, playground or potential space. - MNAC

A collection of 11 short poetic psycho-geographic portraits of cities and spaces from artist Dominique Gonzelez-Foerster. Ranging from the revisiting of a scene of Ming-Liang Tsai's 'Vive l'Amour' through the eyes of its protagonist, to a ticker-tape parade in Buenos Aires, from a reflection on the filmic qualities of Brasilia,to an observation of the observers of the 1999 eclipse in Paris. All soundtracked by a sensitive balance of field-recordings and carefully chosen delicate music.

Atomic Park is a place in the White Sands desert (New Mexico), not far away from Trinity Site, where the first atom bomb exploded in 1945. This national park provides an ambivalent landscape, as well suited for a picnic as for ballistic tests. A white desert, like a natural exhibition hall every movement can provoke diverse interpretations. Like a faint echo we hear Marilyn Monroe's desperate monologue and accusation about man's violence from The Misfits (1961). - Torino Film Festival

Subjective observations of Corsica and Japan, accompanied by an eclectic soundtrack.