Installation view
Artwork © Urs Fischer. Photo: Johnna Arnold
Installation view
Artwork © Urs Fischer. Photo: Johnna Arnold
Installation view
Artwork © Urs Fischer. Photo: Johnna Arnold
Installation view
Artwork © Urs Fischer. Photo: Johnna Arnold
Installation view
Artwork © Urs Fischer. Photo: Johnna Arnold
Urs Fischer
Landscape, 2016
Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 71 × 127 ⅜ inches (180.3 × 323.5 cm)
© Urs Fischer
Urs Fischer
Orb, 2016
Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, colored pencil, 77 ¼ × 60 ¾ inches (196.2 × 154.3 cm)
© Urs Fischer
Urs Fischer
Sunset, 2016
Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, colored pencil, 87 ¾ × 67 ⅛ inches (222.9 × 170.5 cm)
© Urs Fischer
Urs Fischer
Gottlieb, 2016
Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 79 ⅞ × 63 ¾ inches (202.9 × 161.9 cm)
© Urs Fischer
Urs Fischer
TBD, 2016
Urethane foam, wooden armature; chair: 32 × 44 × 42 inches (81.3 × 111.8 × 106.7 cm), ottoman: 13 × 24 × 23 inches (33 × 24 × 23 inches), edition of 12
© Urs Fischer
At its core, art is all about order. When you’re an artist, you basically arrange, rearrange, or alter; you play off order.
—Urs Fischer
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.
Gagosian and Sadie Coles HQ hosted a conversation between Urs Fischer and film curator and writer Róisín Tapponi about fearless creativity and the artist’s most recent monograph, Urs Fischer: Monumental Sculpture.
In this video, Urs Fischer elaborates on the creative process behind his public installation Wave, at Place Vendôme, Paris.
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Urs Fischer sits down with his friend the author and artist Eric Sanders to address the perfect viewer, the effects of marketing, and the limits of human understanding.
The exhibition Urs Fischer: Lovers at Museo Jumex, Mexico City, brings together works from international public and private collections as well as from the artist’s own archive, alongside new pieces made especially for the exhibition. To mark this momentous twenty-year survey, the artist sits down with the exhibition’s curator, Francesco Bonami, to discuss the installation.
On the eve of Awol Erizku’s exhibition in New York, he and Urs Fischer discuss what it means to be an image maker, the beauty of blurring genres, the fetishization of authorship, and their shared love for Los Angeles.
William Middleton traces the development of the new institution, examining the collaboration between the collector François Pinault and the architect Tadao Ando in revitalizing the historic space. Middleton also speaks with artists Tatiana Trouvé and Albert Oehlen about Pinault’s passion as a collector, and with the Bouroullec brothers, who created design features for the interiors and exteriors of the museum.
As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.
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.
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 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.
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.
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.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
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.
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 and Francesco Bonami sat down with the Gagosian Quarterly to discuss Sōtatsu, a new painting in nine parts.
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.
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.
