The Art Gallery of New South Wales is currently home to a rare and intimate exhibition of the iconic French-American artist Louise Bourgeois, curated by Dr. Lea Vuong, a French scholar from the School of Languages and Culture. The blockbuster exhibition promises a deeply thoughtful and sensuous experience for art enthusiasts.
As visitors approach the gallery, they are greeted by the monumental sculpture “Maman,” a giant sinewy structure of bronze legs, reminiscent of a daddy longlegs but with a twist. The title, meaning “mum” in French, challenges traditional perceptions, replacing fear with the nurturing qualities associated with motherhood.
Despite spending most of her life and career in New York City, Louise Bourgeois maintained a strong connection to her French roots, asserting her “right to defend her Frenglish.” Her works seamlessly transition between French and English, reflecting a deeply personal intermingling of both languages.
The exhibition features the Sydney debut of Maman, with the original residing at London’s Tate since 2008. This showcase marks the opening of the first large-scale exhibition in the new Sydney Modern, which promised to deliver a world-class art museum experience when it opened to the public just over a year ago.
Bourgeois’s artistic journey began in France in the late 1930s, evolving over three decades in New York City, where she balanced her artistic pursuits with raising three children. Her recognition soared with the association of her work with feminist art, leading to a global audience encounter with her retrospective at the Museum of Modern Art in 1982.
The Sydney exhibition not only celebrates Bourgeois’s groundbreaking art but also unveils lesser-known works. In the Tank, visitors encounter the phallus-shaped sculpture “Fillette Sweeter version” (1968–1999), a delicate hanging piece that explores the ambivalence of sexual identity.
The exhibition cleverly utilizes lighting and sound effects to provide an intimate experience. In the dimly lit Tank, sculptures and installations emerge as if for the viewer’s eyes only, creating a unique sensory immersion. Shadows merge with reflections, and the artist’s voice resonates directly in the ears of those approaching the works.
Upstairs, the “day” section offers a more straightforward display, providing context and contrast to the immersive underground experience. Bourgeois’s declaration that “everything I do was inspired by my early life” is exemplified through works like the fabric illustrated book “Ode à la Bièvre” (2007), paying homage to her family’s tapestry repair business and the Bièvre river.
The exhibition delves into the complexities of Bourgeois’s life and emotions, connecting them to her body of work. Pieces like “Topiary IV” (1999) and “Eugénie Grandet” (2009) evoke personal memories, family ties, and references to French culture.
Louise Bourgeois’s art, with its autobiographical nature and cultural references, transcends language barriers, captivating a global audience. As visitors traverse the exhibition, they witness a magical transformation of personal memories into universally relatable forms and words.
For those intrigued by the intersection of art, culture, and personal narratives, the Louise Bourgeois exhibition at the Art Gallery of New South Wales is a must-see. The show offers a rare opportunity to immerse oneself in the deeply thoughtful and sensuous world of this influential artist.