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Urs Fischer

Misunderstandings in the Quest for the Universal

March 1–April 23, 2016
980 Madison Avenue, New York

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Installation video

Urs Fischer, aceofpigs, 2016 Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 59 × 59 ¾ inches (149.9 × 151.8 cm), edition of 2 + 1 APInstallation view, Gagosian, 980 Madison Avenue, New York© Urs Fischer. Photo: Rob McKeever

Urs Fischer, aceofpigs, 2016

Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 59 × 59 ¾ inches (149.9 × 151.8 cm), edition of 2 + 1 AP
Installation view, Gagosian, 980 Madison Avenue, New York
© Urs Fischer. Photo: Rob McKeever

Urs Fischer, grump, 2016 Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 45 ⅞ × 31 ⅜ inches (116.5 × 79.7 cm), edition of 2 + 1 APInstallation view, Gagosian, 980 Madison Avenue, New York© Urs Fischer. Photo: Rob McKeever

Urs Fischer, grump, 2016

Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 45 ⅞ × 31 ⅜ inches (116.5 × 79.7 cm), edition of 2 + 1 AP
Installation view, Gagosian, 980 Madison Avenue, New York
© Urs Fischer. Photo: Rob McKeever

Urs Fischer, mousecheesecircle, 2016 (detail) Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 83 ⅝ × 91 ¼ × ⅜ inches (212.4 × 231.8 × 1 cm), edition of 2 + 1 APInstallation view, Gagosian, 980 Madison Avenue, New York© Urs Fischer. Photo: Rob McKeever

Urs Fischer, mousecheesecircle, 2016 (detail)

Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 83 ⅝ × 91 ¼ × ⅜ inches (212.4 × 231.8 × 1 cm), edition of 2 + 1 AP
Installation view, Gagosian, 980 Madison Avenue, New York
© Urs Fischer. Photo: Rob McKeever

Urs Fischer, younoyou, 2016 Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 17 × 96 ¾ × ⅜ inches (43.2 × 245.7 × 1 cm), edition of 2 + 1 APInstallation view, Gagosian, 980 Madison Avenue, New York© Urs Fischer. Photo: Rob McKeever

Urs Fischer, younoyou, 2016

Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 17 × 96 ¾ × ⅜ inches (43.2 × 245.7 × 1 cm), edition of 2 + 1 AP
Installation view, Gagosian, 980 Madison Avenue, New York
© Urs Fischer. Photo: Rob McKeever

Installation view Artwork © Urs Fischer. Photo: Rob McKeever

Installation view

Artwork © Urs Fischer. Photo: Rob McKeever

Installation view Artwork © Urs Fischer. Photo: Rob McKeever

Installation view

Artwork © Urs Fischer. Photo: Rob McKeever

Installation view Artwork © Urs Fischer. Photo: Rob McKeever

Installation view

Artwork © Urs Fischer. Photo: Rob McKeever

Installation view Artwork © Urs Fischer. Photo: Rob McKeever

Installation view

Artwork © Urs Fischer. Photo: Rob McKeever

Installation view Artwork © Urs Fischer. Photo: Rob McKeever

Installation view

Artwork © Urs Fischer. Photo: Rob McKeever

Installation view Artwork © Urs Fischer. Photo: Rob McKeever

Installation view

Artwork © Urs Fischer. Photo: Rob McKeever

Urs Fischer and Francesco Bonami speaking amidst the installation of "Urs Fischer: Lovers" at Museo Jumex, Mexico City

Urs Fischer: Lovers

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.

Awol Erizku, Lion (Body) I, 2022, Duratrans on lightbox, 49 ⅜ × 65 ⅝ × 3 ¾ inches (125.4 × 166.7 × 9.5 cm) © Awol Erizku

Awol Erizku and Urs Fischer: To Make That Next Move

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.

Installation view of Urs Fischer’s Untitled (2011) in Ouverture, Bourse de Commerce – Pinault Collection, Paris, 2021. Artwork © Urs Fischer, courtesy Galerie Eva Presenhuber, Zurich; Bourse de Commerce – Pinault Collection © Tadao Ando Architect & Associates, Niney et Marca Architectes, Agence Pierre-Antoine Gatier. Photo: Stefan Altenburger

Bourse de Commerce

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.

Augurs of Spring

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.

Installation view, Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray, Gagosian, Grosvenor Hill, London, June 15–July 31, 2020

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.

Installation view, Urs Fischer: The Lyrical and the Prosaic, Aïshti Foundation, Beirut, October 20, 2019–October 31, 2020.

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.

News

Photo: Chad Moore

Artist Spotlight

Urs Fischer

June 24–30, 2020

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 paintings, sculptures, photographs, and large-scale installations explore themes of perception and representation while maintaining a witty irreverence and mordant humor.

Photo: Chad Moore