Dominique Gonzalez-Foerster: Picnic on Paradise by Joanna Russ
Picnic on Paradise by Joanna Russ - 367 x 600mm
Dye sub print to poly-opaque fabric with foam padding
Print double sided and edges of cushion with zip fastening
Edition of 20
£250 (incl. VAT) per cushion.
Dominique Gonzalez-Foerster (b. in 1965 in Strasbourg, France) metabolises cinematographic, literary, architectural, musical, and pop references to create spaces that investigate the implicit neutrality of artistic practice and display.
Alienarium 5 was a speculative environment that invited visitors to imagine possible encounters with extraterrestrials. The exhibition was Dominique Gonzalez-Foerster’s first major institutional solo show in the UK since TH.2058 at Tate Modern’s Turbine Hall in 2008, and was a culmination of her decades-long interest in science fiction and continued research into deep space and alien life. Conceived site-specifically for Serpentine, the exhibition featured almost entirely new work that engaged both the gallery’s internal and external space.
For Alienarium 5, Gonzalez-Foerster collaborated with writer and philosopher Paul B. Preciado, musician Julien Perez and parfumier Barnabé Fillion, among others, to transform Serpentine into a spectacular and otherworldly environment. This welcomed visitors into a world of expanded possibility and was, in the artist’s words, “a mutant place contributing to the invention of new technologies of consciousness. It is an anti-War of the Worlds vision”.
Inhabiting the experimental ideas at the core of Alienarium 5, the choice of book covers illustrates Gonzalez-Foerster’s long interest in sci-fi, the spiritual and magical, as well as the existence of the artists within this digital age.
Picnic on Paradise (1979) was Joanna Russ's debut novel, depicting a middle aged female protagonist in a utopian world, struggling with the nuances of her post. Joanna Russ a female writer in a genre filled with predominantly male voices “helped deliver science fiction into the hands of the most alien creatures the genre had yet seen—women . . . [and] helped inaugurate the now flourishing tradition of feminist science fiction” (The New York Times).
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