People seem to fear art. Art has always been a word for this thing that can’t be rationalized; when you see or hear something that you struggle to explain. But that’s its strength, of course, that’s what the word “art” is for.
Urs Fischer mines the potential of materials—from clay, steel, and paint to bread, dirt, and produce—to create works that disorient and bewilder. Through scale distortions, illusion, and the juxtaposition of common objects, his sculptures, paintings, photographs, and large-scale installations explore themes of perception and representation while maintaining a witty irreverence and mordant humor.
Fischer began his artistic career studying photography at the Schule für Gestaltung in Zurich. He later lived in London and Los Angeles, and shared a studio with Rudolf Stingel in both Berlin and New York. Themes of absence and presence, as well as the processes of art production, pervade his work, in which Fischer makes use of tables, chairs, shadows, and light to explore distortion and anthropomorphism. In Stuhl mit (1995–2001), bulbous, fabric-covered legs merge with a wooden chair, and in Studies for chairs for individual seating positions (1993), the absence of a human body is suggested by a sawdust and rubber mold draped over the furniture. Food is also a major element in Fischer’s work. Rotting, melting, and crumbling, and placed in juxtaposition with permanent materials like metal, bricks, and mortar, it serves as a memento mori; Rotten Foundation (1998) comprises a brick structure built on a foundation of rotting produce; Untitled (Bread House) (2004–05), a Swiss chalet constructed entirely of loaves of bread, was left to be eaten by parakeets; and in the Problem Paintings (2011–), portraits mounted on aluminum panels are obscured by images of eggs, peppers, and kiwis, as well as twisted bolts and half-smoked cigarettes.
In 2009 Fischer had his first large-scale solo presentation in an American museum, at New York’s New Museum; the exhibition featured a series of immersive installations and hallucinatory environments including cityscapes and mirrored labyrinths. At the Venice Biennale in 2011, his wax copy of Giambologna’s late-sixteenth-century sculpture Rape of the Sabine Women slowly melted, looming over another candle depicting an ordinary man wearing glasses and a sport coat. The candle works, which Fischer has produced since 2001, attest to his mastery of entropy, as well as his simultaneous incorporation and rejection of tradition.
Fischer had his first solo show with Gagosian in 2012. The following year for his exhibition Yes at the Geffen Contemporary at MOCA Los Angeles, 1,400 volunteers produced unfired clay sculptures in the weeks leading up to the exhibition. As soon as Fischer has accomplished one material feat, he embarks on another, in ways that are complicated and playful, messy and perfected.
Extended through December 15, 2018
September 12–December 15, 2018
Davies Street, London
PLAY with choreography by Madeline Hollander
September 6–October 13, 2018
West 21st Street, New York
Augurs of Spring
As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.
Uncanny Delights: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray
Catalyzed by the exhibition Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray, Alice Godwin examines the legacy and development of a Surrealist ethos in selected works from three contemporary sculptors.
Urs Fischer: Lives of Forms
In his introduction to the catalogue for Urs Fischer’s exhibition The Lyrical and the Prosaic, at the Aïshti Foundation in Beirut, curator Massimiliano Gioni traces the material and conceptual tensions that reverberate throughout the artist’s paintings, sculptures, installations, and interventions.
Fruit and Vegetables: Francesco Bonami on Urs Fischer
Fruit and vegetables are a recurring motif in Urs Fischer’s visual vocabulary, introducing the dimension of time while elaborating on the art historical tradition of the vanitas. Here, curator Francesco Bonami traces this thread through the artist’s sculptures and paintings of the past two decades.
Five Books: Urs Fischer
Urs Fischer talks about reading during the pandemic lockdown, sharing five books—both fiction and nonfiction—that he has turned to while in self-isolation.
Urs Fischer: Leo
Journalist and curator Judith Benhamou-Huet leads a tour of the exhibition Urs Fischer: Leo at Gagosian, Paris.
Urs Fischer and choreographer Madeline Hollander speak with novelist Natasha Stagg about the ways in which choreographic experimentation and an interest in our ability to project emotion onto objects led to the one-of-a-kind project PLAY.
Visions of the Self: Jenny Saville on Rembrandt
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Gagosian Quarterly Winter 2018
The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.
Who is choreographing whom?
PLAY, currently on view at Gagosian on West 21st Street in New York, is a work by Urs Fischer in which nine office chairs move through the gallery and interact with visitors. Artist and choreographer Madeline Hollander worked with Fischer and a team of programmers and animators to create various gestures, movements, and behavior sequences for the chairs. Gagosian’s Angela Brown sat down to talk with Hollander about this process.
Urs Fischer: Sotatsu
Urs Fischer and Francesco Bonami sat down with the Gagosian Quarterly to discuss Sōtatsu, a new painting in nine parts.
Urs Fischer: Things
In midtown Manhattan, a new sculpture by Urs Fischer, entitled Things, was debuted in May 2018. Fischer and international curator, Francesco Bonami, discuss this unique exhibition with the Gagosian Quarterly.
FIAC Online 2021
March 2–12, 2021
Gagosian is pleased to present Printemps oublié for the first online edition of FIAC. This curated presentation reflects the dual character of springtime as a reminder of past trials and the harbinger of a vibrant new season to come.
All the artworks will appear on the Gagosian website and a rotating selection will appear in the inaugural FIAC Online Viewing Rooms, from March 4 to 7.
Jeff Koons, Bluebird Planter, 2010–16 © Jeff Koons
Hong Kong Spotlight by Art Basel
November 27–30, 2020, booth S07
Hong Kong Convention and Exhibition Centre
Gagosian is pleased to participate in the inaugural Hong Kong Spotlight by Art Basel, the gallery’s third in-person art fair since the COVID-19 lockdown in March. Organized in conjunction with Fine Art Asia, the fair will present works from twenty-two Hong Kong–based galleries in a boutique setting. On view will be a range of thematic solo and group exhibitions, as well as films and specially curated art historical presentations.
Alex Israel, Wave, 2020 © Alex Israel
West Bund Art & Design 2020
November 12–15, 2020, booth A102
West Bund Art Center, Shanghai
Gagosian is pleased to participate in West Bund Art & Design 2020 with an extensive group presentation. Along with the gallery’s booth at ART021 Shanghai, on view between November 14 and 15, this will be Gagosian’s first in-person art fair since the covid-19 lockdown in March. The gallery’s participation was made possible by extraordinary support from the artists involved.
John Currin, Pistachio, 2016 © John Currin
The Paradox of Stillness
Art, Object, and Performance
Through August 8, 2021
Walker Art Center, Minneapolis
Featuring works from the early twentieth century to today, The Paradox of Stillness examines the notion of stillness as both a performative and a visual gesture. More than sixty-five artists present object-based art, pictures, and actions staged by live performers to test the boundaries between stillness and motion, mortality and aliveness, and the still life and the living picture. Work by Urs Fischer, Piero Manzoni, Cindy Sherman, Tom Wesselmann, and Franz West is included.
Urs Fischer, Untitled, 2003 © Urs Fischer
Urs Fischer in
Light Upon Light: Light Art Since the 1960s
March 18–June 12, 2021
Part of Noor Riyadh, a new city-wide annual festival of public art installations across Saudi Arabia’s capital, the exhibition Light Upon Light includes thirty works of light art divided into four thematic “rays” that survey light as an artistic medium and aim to unite established artists of diverse geographic origin. From sculpture and video to immersive installation, visitors experience a richly illuminated exhibition. Work by Urs Fischer is included.
Urs Fischer, Leo (George & Irmelin), 2019 © Urs Fischer. Photo: Stefan Altenburger
Urs Fischer in
Nature of Robotics: An Expanded Field
November 6, 2020–April 25, 2021
ArtLab, École polytechnique fédérale de Lausanne, Switzerland
Offering an unconventional look at the rapidly expanding field of robotics, Nature of Robotics aims to instigate a thought process on the emerging perspectives and scenarios situated at the frontier between science and the visual arts. By presenting speculative creatures, drawings, diagrams, and videos made by contemporary artists alongside scientific projects, the exhibition invites reflection on the place of artificial agents in our natural and social ecosystems. Work by Urs Fischer is included.
Urs Fischer, Maybe, 2019 © Urs Fischer. Photo: Stefan Altenburger
La rivoluzione siamo noi
Collezionismo italiano contemporaneo
September 26, 2020–January 10, 2021
XNL Piacenza Contemporanea, Italy
XNL Piacenza Contemporanea, a new cultural center dedicated to contemporary art, presents its inaugural exhibition, whose title translates to We Are the Revolution: Contemporary Italian Collecting. The show features more than 150 works from eighteen of the most important art collections in Italy. Giuseppe Penone is creating a site-specific piece for the exhibition, and work by Urs Fischer, Ellen Gallagher, Piero Manzoni, and Andy Warhol is also included.
Giuseppe Penone, Propagazione (Propagation), 2020 © Giuseppe Penone/2021 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Mauro Del Papa