Menu Skip to content

Urs Fischer

Mind Moves

October 21–December 23, 2016
San Francisco

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

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

Works Exhibited

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, 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, 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, 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, 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

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

About

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.

Read more

From the Quarterly