Gregor Schneider’s spaces make you feel like you’re being swallowed up by your own fears, your own memories. At the 2001 Venice Biennale, he transplanted the inner world of his parents’ house to the Giardini: inside the Nazi-era German Pavilion, visitors entered a nightmare of West German stuffiness—cramped, stifling, psychotic—extensions and replicas of the original rooms. It earned Schneider the Golden Lion award. People queued for (as the original project is called), which he has been working on since 1985, when he was just sixteen. Still fully in its grip, the artist has warehoused the countless copies of those rooms (Schneider calls them “repetitions”) he has created since then.
