“Art” has always been a word for this thing that can’t be rationalized, when you see or hear something that you struggle to explain. But that’s its strength, of course.
Gagosian is pleased to present Things by Urs Fischer at 511 Fifth Avenue, New York.
Amid the bustle of midtown Manhattan, a rhinoceros can be glimpsed through tall, arched windows at street level. Various man-made objects—including a copy machine, a car door, a handbag, a vacuum cleaner, a shovel, and a table—seem to float right through the creature, as if released from Earth’s gravitational pull. Carved out of aluminum, this barrage of incongruous items forms a single, continuous unit, anchored by the rhinoceros, which stands its ground. Produced at life size from a 3D scan of a taxidermy animal, its furrowed visage looms from a height of more than ten feet.
Things considers the ways that objects and forces—from plastic bottles and Wi-Fi signals to memories, history, and emotion—gather around and pass through our bodies as we move through the world, creating countless versions of reality that are specific to each of us. Like the rhinoceros, we absorb all that comes into our vicinity, and in the process we ourselves undergo a constant, often undetectable metamorphosis. Existence itself is thus presented as an accumulation, a collective gathering of physical and metaphorical baggage.
In his use of traditional materials and current technologies, Fischer’s art tests the boundaries of possibility and perception. He has used clay, steel, wax, bread, dirt, vegetables, and fruit, among other substances, often to extreme paradoxical visual effect, revealing a keen attunement to the infinite mutability of image and form. The vicissitudes of objecthood are further complicated when Fischer’s sculptures are installed outside of the typical white-walled gallery. In a courtyard, a vacated bank, an open field, his extroverted works have acted as portals into the uncanny. Here, the portal opens right between Grand Central Terminal and Bryant Park. An extraordinary creature made up of ordinary parts, Things transports unsuspecting passersby, if just for a moment, into a world that is at once prehistoric, digital, and mysteriously uncharted.
This special installation coincides with Sōtatsu, an exhibition of new paintings by Fischer at Gagosian 980 Madison Avenue, through June 23.
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.
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.
Visions of the Self: Jenny Saville on Rembrandt
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Gagosian Quarterly Winter 2018
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.
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.
October 14–December 20, 2019
January 11–February 9, 2019
Extended through December 15, 2018
September 12–December 15, 2018
Davies Street, London
PLAY with choreography by Madeline Hollander
September 6–October 13, 2018
West 21st Street, New York