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Urs Fischer

Mind Moves

October 21–December 23, 2016
San Francisco

Installation view Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view

Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view

Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view

Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view

Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view Artwork © Urs Fischer. Photo: Johnna Arnold

Installation view

Artwork © Urs Fischer. Photo: Johnna Arnold

Works Exhibited

Urs Fischer, Landscape, 2016 Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 71 × 127 ⅜ inches (180.3 × 323.5 cm)© Urs Fischer

Urs Fischer, Landscape, 2016

Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 71 × 127 ⅜ inches (180.3 × 323.5 cm)
© Urs Fischer

Urs Fischer, Orb, 2016 Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, colored pencil, 77 ¼ × 60 ¾ inches (196.2 × 154.3 cm)© Urs Fischer

Urs Fischer, Orb, 2016

Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, colored pencil, 77 ¼ × 60 ¾ inches (196.2 × 154.3 cm)
© Urs Fischer

Urs Fischer, Sunset, 2016 Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, colored pencil, 87 ¾ × 67 ⅛ inches (222.9 × 170.5 cm)© Urs Fischer

Urs Fischer, Sunset, 2016

Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, colored pencil, 87 ¾ × 67 ⅛ inches (222.9 × 170.5 cm)
© Urs Fischer

Urs Fischer, Gottlieb, 2016 Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 79 ⅞ × 63 ¾ inches (202.9 × 161.9 cm)© Urs Fischer

Urs Fischer, Gottlieb, 2016

Aluminum panel, epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, and acrylic paint, 79 ⅞ × 63 ¾ inches (202.9 × 161.9 cm)
© Urs Fischer

Urs Fischer, TBD, 2016 Urethane foam, wooden armature; chair: 32 × 44 × 42 inches (81.3 × 111.8 × 106.7 cm), ottoman: 13 × 24 × 23 inches (33 × 24 × 23 inches), edition of 12© Urs Fischer

Urs Fischer, TBD, 2016

Urethane foam, wooden armature; chair: 32 × 44 × 42 inches (81.3 × 111.8 × 106.7 cm), ottoman: 13 × 24 × 23 inches (33 × 24 × 23 inches), edition of 12
© Urs Fischer

About

At its core, art is all about order. When you’re an artist, you basically arrange, rearrange, or alter; you play off order.
—Urs Fischer

Gagosian San Francisco is pleased to present Mind Moves, an exhibition of new sculptures and paintings by Urs Fischer.

Resisting any single mode of representation, Fischer pushes the limits of line, color, and shape through surprising and provocative materials and subjects. Mind Moves brings together various formal experiments in which space is divided, sliced, opened, and closed.

In Fischer’s linear sculptures, gestural scribbles seem described in the air with the spontaneity of a drawing on page or screen. The three lines—in black and white, red-brown, and a color gradient—are activated by one’s movement around them. Depending on the vantage point, they are either deceptively two-dimensional or nearly disappear, thin and bladelike. Meanwhile, the walls of this unpredictable, oddly digital zone are punctuated by bold paintings on cutout aluminum panels. In these works, facial features are rendered as intersecting organic forms. Photographed fragments of Fischer’s own lips, nose, and eyebrows are freed from self-portraiture, instead becoming shapes that slide and mutate, melting and hardening in bright hues. With this series, Fischer recalls the compositional structures of grand landscape painting, presenting the two halves of his own face as topographical masses, propping gently against one another.

Read more

Urs Fischer: Wave

Urs Fischer: Wave

In this video, Urs Fischer elaborates on the creative process behind his public installation Wave, at Place Vendôme, Paris.

Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

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: 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 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.

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