la chambre humaine & le sommeil électronique
Galerie Chantal Crousel•Jun 06, 2026 — Jul 22, 2026
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Press Release
For the second chapter of la chambre humaine, Dominique Gonzalez-Foerster brings together a circle of eight artists—Anísio O. Couto, Sarah-Anaïs Desbenoit, Mimosa Echard, Muyeong Kim, Matthew Lutz-Kinoy, Ji-Min Park, Rirkrit Tiravanija and Leïla Vilmouth—whose works reveal a set of shared links and echoes. The result is a subjective and affective panorama that recalls a collective or “relational” way of making exhibitions, a process DGF has applied since L’Hiver de l’amour [The Winter of Love] at the MAMVP in 1994 and up to la Décennie [The Decade] with Stéphanie Moisdon at the Centre Pompidou-Metz in 2014.
Sequels are particularly enjoyable in literature and cinema, and even more so in the field of exhibition-making, where they remain the exception. La chambre humaine & le sommeil électronique thus reclaims the space of the room—biographical as much as cinematic—as developed by Dominique Gonzalez-Foerster since Nos années 70 (1992) and RWF (Chambre) (1993), and the round bed of la…
Exhibition Space
la chambre humaine & le sommeil électronique
Galerie Chantal Crousel•Jun 06, 2026 — Jul 22, 2026
Press Release
For the second chapter of la chambre humaine, Dominique Gonzalez-Foerster brings together a circle of eight artists—Anísio O. Couto, Sarah-Anaïs Desbenoit, Mimosa Echard, Muyeong Kim, Matthew Lutz-Kinoy, Ji-Min Park, Rirkrit Tiravanija and Leïla Vilmouth—whose works reveal a set of shared links and echoes. The result is a subjective and affective panorama that recalls a collective or “relational” way of making exhibitions, a process DGF has applied since L’Hiver de l’amour [The Winter of Love] at the MAMVP in 1994 and up to la Décennie [The Decade] with Stéphanie Moisdon at the Centre Pompidou-Metz in 2014.
Sequels are particularly enjoyable in literature and cinema, and even more so in the field of exhibition-making, where they remain the exception. La chambre humaine & le sommeil électronique thus reclaims the space of the room—biographical as much as cinematic—as developed by Dominique Gonzalez-Foerster since Nos années 70 (1992) and RWF (Chambre) (1993), and the round bed of la…
Exhibition Space
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