About
Everybody likes objects; everybody likes different objects. It comes down to what objects you want to put in your art. . . . I like them all: high, low, used, new, whichever works.
—Urs Fischer
Gagosian is pleased to present an exhibition of tables by Urs Fischer.
Continuously searching for new sculptural solutions, Fischer has built houses out of bread, enlivened empty space with mechanistic jokes, deconstructed objects and then replicated them, and transferred others from three dimensions to two and back again via photographic processes. He combines daring formal adventures in space, scale, and material with a mordant sense of humor. Reinvesting traditional art-historical genres (still life, portraits, nudes, landscapes, and interiors) with an abundance of rich and surprising forms—such as cast sculptures and assemblages, paintings, digital montages, spatial installations, kinetic objects, and texts—he ceaselessly explores the intersection of art and everyday life.
The exhibition title, a collision of furniture and body parts, gives le corps exquis another turn of the screw. The works to which the title alludes are tables that combine large resin-coated photomontages with multicolored steel geometric bases. The jokey surrealist montages juxtapose images both found and manipulated—a pair of sausages, a cartoon snail, a graffiti-covered wall, an open mouth, a Hong Kong supermarket. Blurring the distinctions between photography, collage, sculpture, and furniture, the tables are objects both aesthetic and useful, filling the gallery with a presence that is at once visually arresting and socially convivial.
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Urs Fischer: Wave
In this video, Urs Fischer elaborates on the creative process behind his public installation Wave, at Place Vendôme, Paris.
Now available
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.
News
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