Art is open—it can go on endlessly.
Gagosian is pleased to present Sōtatsu, a new painting in nine parts by Urs Fischer.
In this work, which is installed in successive panels along the walls of a single room, Fischer explores the ways that space can be divided, stretched, opened, and closed—creating a panorama that is as continuous as it is fragmented. Inspired by the hand scrolls and painted screens of early seventeenth-century Japanese artist Tawaraya Sōtatsu, Fischer’s interior landscape uses negative space, light, and repetition to evoke time and movement. Sōtatsu, whose work Fischer has long admired, was a cofounder of the Rinpa school, which favored traditional Japanese subjects, such as gardens, cranes, the four seasons, and references to Heian-period poetry, while incorporating shimmering metallic backgrounds, bold colors, and images intersecting with calligraphic text.
In a twenty-first-century echo of Sōtatsu’s aesthetic innovations, Fischer merges traditional art historical themes with new technologies. The painting is handmade on a digital substrate, then silkscreened onto aluminum panels. Instead of a direct translation from tablet screen to paper surface, Fischer’s process imbues the digital image with an analog tactility; in some places, his painterly gestures loosen, revealing patches of the shiny aluminum beneath. The image unfolds in succession, starting with a view of a room in Fischer’s home. Furniture, books, and artwork are illuminated by both natural and artificial light, and as the room continues to disintegrate, objects appear and dissolve across the nine large panels, concluding with an exterior view: two birds flying in a sky that is at once stormy and clear.
Freezing gesture through digital means, Fischer considers the changing implications of touch in an increasingly disembodied world, where images are created and repeated at the click of a button. Transforming his own gestures into temporal worlds of their own, he suggests that originality can still be carved out from within the exponentially growing realm of the digital image.
Fischer’s large-scale sculpture Things is on view at 511 Fifth Avenue, New York (entrance at 2 East 43rd Street), from May 15 through June 23.
Urs Fischer: Sotatsu
Urs Fischer and Francesco Bonami sat down with the Gagosian Quarterly to discuss Sōtatsu, a new painting in nine parts.
Gagosian Quarterly Winter 2022
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Urs Fischer: Denominator
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.
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 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.
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.
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
Extended through November 4, 2023
July 20–November 4, 2023
433 North Camden Drive, Beverly Hills