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Book Launch

Urs Fischer

November 11–December 14, 2019
Gagosian, Geneva

Gagosian is pleased to celebrate the release of Urs Fischer: Sculptures 2013–2018, published by Kiito-San, with a special presentation of the book featuring a selection of recent sculptures, works from the Bandaids series, and other important publications made by the artist.

Featuring more than one hundred works as well as documentation of forty exhibitions and installations both public and private, Sculptures 2013–2018 presents six years of Fischer’s material explorations in a substantial volume. Arranged chronologically, the book allows the reader to follow his developments in form and his frequent adventure into whimsy. Fischer’s instinct for design is evident not only in individual works but also in his clarity of vision for a space. Encountering the immense and the minuscule, the ever-changing and the static, the viewer must reconcile with his or her own presence in time.

Urs Fischer: Sculptures 2013–2018 (New York: Kiito-San, LLC, 2019)

Urs Fischer: Sculptures 2013–2018 (New York: Kiito-San, LLC, 2019)

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Urs Fischer, Rose, 2024 © Urs Fischer. Photo: Stefan Altenburger

Installation

Urs Fischer
Rose

Urs Fischer’s painting Rose (2024) is on view in the vitrine at Gagosian, rue de Ponthieu, Paris, as part of the artist’s exhibition Beauty at the rue de Castiglione gallery.

In 2010, Fischer began the Problem Paintings series, layering vivid screen-printed images of familiar objects and organic forms—from fixtures and fittings to fruits and vegetables—over precisely rendered enlargements of vintage Hollywood headshots. Rose belongs to this series and shows a glamorous screen actor wearing red lipstick, her face partially obscured by a luscious pink rose with a bright green stem and leaves. The juxtaposition enacts a playful conflict between clarity and secrecy, aesthetic experimentation and symbolic meaning. Evoking the cryptological messaging of Victorian floriography, Rose confronts the viewer with a mischievous, perhaps unsolvable visual conundrum.

Urs Fischer, Rose, 2024 © Urs Fischer. Photo: Stefan Altenburger

Urs Fischer, Candyfloss, 2023 © Urs Fischer

Installation

Urs Fischer
Candyfloss

October 12–November 28, 2023
Gagosian, rue de Ponthieu, Paris

Urs Fischer’s painting Candyfloss (2023) is on view in the street-facing vitrine at Gagosian, rue de Ponthieu, Paris, presented along with the artist’s monumental sculpture Wave (2018) at Place Vendôme in Paris as part of Paris+ par Art Basel.

Candyfloss is one of the latest works in Fischer’s series of Problem Paintings, which he began in 2010. In this series, the artist formulates incongruous pairings of photographic portraits with vibrantly colored screenprinted images of inanimate objects. In Candyfloss, Fischer overlays an enlarged picture of a cerise-pink daisy on a digitally altered headshot of a Hollywood actress, obscuring her identity through the blossom’s placement. The visual “problem” resulting from this friction between illegibility and possibility—and from the clash of representational systems suggested by the flower’s mysteriously improbable shadow—is at once surprising and darkly humorous.

Urs Fischer, Candyfloss, 2023 © Urs Fischer

Urs Fischer, Wave, 2018, installation view, Place Vendôme, Paris © Urs Fischer. Photo: Stefan Altenburger

Public Installation

Urs Fischer
Wave

October 14–November 30, 2023
Place Vendôme, Paris

Gagosian is pleased to present Urs Fischer’s public sculpture Wave (2018). The work will be installed at Place Vendôme in Paris from October 14 as part of Paris+ par Art Basel.

Wave is the sixth sculpture in Fischer’s series Big Clays. Despite their imposing scale, these works always begin with a small piece or pieces of clay shaped in the artist’s hand. Fischer describes this process as “a sensual and repetitive gesture, like a bodily motion,” which he ends prior to conscious intervention. After making hundreds of such forms, he selects only one to be digitally scanned and carved at an enlarged scale. Unlike a cast form or a digital replica, the resulting work preserves the nuanced tactility of the original maquette, magnifying its details—down to the artist’s fingerprints—into a monument.

Urs Fischer, Wave, 2018, installation view, Place Vendôme, Paris © Urs Fischer. Photo: Stefan Altenburger

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