H. Giacomelli, L’Oiseau (Bird), 1856, ink on paper

Gaston Bachelard, The Poeticsof Space, trans. Maria Jolas (Boston: Beacon Press, 1964)

Louise Bourgeois, Fee Couturiere, ca. 1963, plaster

“’We bring our lares with us’: Bodies and Domiciles in the Sculpture of Louise Bourgeois” by Elyse Speaks

Images:

Eva Hesse, Inside I, 1967, acrylic paint over papier-mache, twine, and wire over wood; Inside II, 1967, acrylic paint mixed with sawdust over wood, papier-mache, cord, weights and acrylic

Text: 

Briony Fer, from “Objects beyond Objecthood” in the Oxford Art Journal Vol. 22, No. 2, Louise Bourgeois (1999).

Vito Acconci, Making Shelter: House of Used Parts, 1985

Materials

aluminum ladders, pup tent, rubber tires, wooden doors

Description

The compact shelter constructed of discarded materials sits in an inner city garden, lush with flowers and foliage behind a plain wooden fence. Four chair backs, made from aluminum ladders, hold up a pitched roof consisting of two doors in a wooden frame. Between the chairs is a pup tent which doubles as a table base. Climbing one of the ladders up into the attic-room, you find rubber tires fastened closely together to form a hammock.

Harutyun Simonyan   Uterus, 2002

The installation in the waiting room of Erlaufer Bahnhof is a kind of anti-monument that symbolizes the importance of the monument in relation to the collective and the individual symbolically with the terms “outside” and “inside”. In the video “Uterus”, the Armenian artist returned to a fetal state in an imaginary womb. At the same time, he transmitted the outside of the station to the interior of the waiting room via video camera.