At its core, art is all about order. When you’re an artist, you basically arrange, rearrange, or alter; you play off order.
Gagosian San Francisco is pleased to present Mind Moves, an exhibition of new sculptures and paintings by Urs Fischer.
Resisting any single mode of representation, Fischer pushes the limits of line, color, and shape through surprising and provocative materials and subjects. Mind Moves brings together various formal experiments in which space is divided, sliced, opened, and closed.
In Fischer’s linear sculptures, gestural scribbles seem described in the air with the spontaneity of a drawing on page or screen. The three lines—in black and white, red-brown, and a color gradient—are activated by one’s movement around them. Depending on the vantage point, they are either deceptively two-dimensional or nearly disappear, thin and bladelike. Meanwhile, the walls of this unpredictable, oddly digital zone are punctuated by bold paintings on cutout aluminum panels. In these works, facial features are rendered as intersecting organic forms. Photographed fragments of Fischer’s own lips, nose, and eyebrows are freed from self-portraiture, instead becoming shapes that slide and mutate, melting and hardening in bright hues. With this series, Fischer recalls the compositional structures of grand landscape painting, presenting the two halves of his own face as topographical masses, propping gently against one another.
Returning again and again to the idea and role of interactivity in art, Fischer has also fashioned several sculptures that serve as a leisure environment possessed of an ambiguous materiality. From afar, the four sculptures appear as simple pieces of furniture, molded in clay. However, one sits down and is surprised to find that the two armchairs and two ottomans are not made of clay, but rather a pliant foamlike material. To achieve this strange material state, Fischer first sculpted the forms in clay, then filled molds of the sculptures with urethane foam, which preserves the impressions, bumps, and ridges produced during the modeling process. Thus, his hand is simultaneously emphasized and denied; he exposes, then obfuscates his process, inviting visitors to sit, read, and relax, to dwell inside bewildering experimentations in form.
In these three groups of works, Fischer’s formal inquiry straddles the real, the imaginary, and the digital. His lines are two and three dimensional; his paintings are landscapes and portraits; and his sculptures are furniture and raw materials. Mind Moves keeps art-historical questions alive, collapsing stability and encouraging play and speculation.
From the Quarterly
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.
The Bigger Picture
Derek Blasberg speaks with Diane Brown, president and founder of RxArt, and with contributing artists Dan Colen, Urs Fischer, and Jeff Koons about the transformative power of visual art.
Mina Stone and Urs Fischer: Cooking for Artists
For Printed Matter’s 2015 LA Art Book Fair, artist Urs Fischer and chef Mina Stone hosted an installation of a kitchen within Gagosian’s booth. Here is a recap of the fair.
September 12–November 3, 2018
Davies Street, London
PLAY with choreography by Madeline Hollander
September 6–October 13, 2018
West 21st Street, New York
May 15–June 23, 2018
May 3–June 23, 2018
980 Madison Avenue, New York