The first sight of the Louise Bourgeois Suspension exhibition at Cheim & Read must be the closest simulation available of watching artworks ascending to heaven. There is a sense that each of the pieces are being called upwards, as their weight hangs below them, pulling them back towards the ground. However, the works don’t fight this strange, heavenly magnetism, and in fact, seem to accept to their celestial trajectory.
“Hanging is an ambivalent gesture,” says Jerry Gorovoy, her assistant and close friend of thirty years, who was kind enough to expand upon her works on the opening night of the show. “It’s as though they’ve given up.” It’s this sense of the works’ submission that makes the tension of their bold physical presence so palpable.