Urs Fischer: Marguerite de Ponty
10/28/09 - 2/7/10
New Museum, NY
Zurich-born, New York-based artist Urs Fischer will be the first artist to take over the entire New Museum on the Bowery. For his first large-scale solo presentation in an American museum to date, Fischer will transform the New Museum's gallery spaces by creating a mesmerizing environment featuring towering monuments, tangled abstractions, and a labyrinth of mirrors. This exhibition will be the culmination of four years of work. Neither a traditional survey nor a retrospective, but rather an "introspective," as organizing curator Massimiliano Gioni calls it, the show will combine new productions and iconic artworks, allowing for an in-depth look at Fischer's practice. Choreographed entirely by the artist, the exhibition will offer viewers the unique opportunity to immerse themselves in Fischer's universe, which is both spectacular and fragile.
Urs Fischer, Noisette, 2009.
Mixed mediums, dimensions variable.
Courtesy the artist; Gavin Brown's enterprise, New York;
Sadie Coles HQ, London, and Galerie Eva Presenhuber, Zurich
Urs Fischer, Marguerite de Ponty, 2006-08.
Cast aluminum, approx. 157 1/2 x 110 1/4 x 102 3/8 in (400 x 280 x 260 cm).
Courtesy the artist; Gavin Brown's enterprise, New York;
Sadie Coles HQ, London, and Galerie Eva Presenhuber, Zurich.
Urs Fischer, self portrait, The Heart of the Ocean, May Yohe & Putnam Strong, Zero Year Curse, Tavernier Blue, Hope Diamond, 2006,
from a suite of three framed prints.
Urs Fischer, abC, 2007.
Cast aluminum, steel chain, iron particles, 11 3⁄8 x 12 5⁄8 x 9 in (29 x 32 x 23 cm); Chain: 137 3⁄4 in (350 cm).
Urs Fischer, The Lock, 2007.
Cast polyurethane, steel pipes, electromagnets, 72 1⁄2 x 29 3⁄4 x 21 5⁄8 in (184 x 75.5 x 55 cm).
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Art Review | Urs Fischer
Exploration of Space
By ROBERTA SMITH
October 29, 2009 / The New York Times
The sculptor Urs Fischer is hot, young and European. When it comes to installation art, he is prone to an efficient form of spectacle: he simply has very large holes cut or dug in the walls or floors of galleries, museums and the occasional art fair booth, usually to startlingly beautiful effect. Implicitly Duchampian yet marvelously experiential, these pieces have seemed to signal the end of installation art, like monochrome paintings sometimes seem to forewarn the end of painting. Add nothing, just use the space and the architecture, dummy. Boom.
The New Museum, seeking some heat of its own, has given Mr. Fischer the run of nearly all the exhibition space — three full floors — in its two-year-old building. It’s a smart move, even if those hoping for a sizable new aperture in one of the museum’s surfaces will be disappointed. The exhibition, titled “Urs Fischer: Marguerite de Ponty” (the subtitle referring to a character from the Symbolist poet Mallarmé), has been supervised by Massimiliano Gioni, a New Museum curator.
In the trifecta of sculpture surveys at major New York museums this fall — expect Roni Horn at the Whitney next week and Gabriel Orozco at the Museum of Modern Art in December — Mr. Fischer’s show started in the lead, with the most anticipation. It felt premature, presumptuous and unpredictable, even though Mr. Fischer, who was born in Switzerland in 1973, descends from a line of German-speaking bad boys that includes Sigmar Polke and Martin Kippenberger and that has been one of the strongest strains of postwar art. Anything could happen, the thinking went, given Mr. Fischer’s capricious, encompassing and, at best, fearless conception of sculpture.
...
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http://www.youtube.com/watch?v=YIbuL1JDjto Massimiliano Gioni of the New Museum
http://www.youtube.com/watch?v=XZb5hqGHCu0 "Noisette"
10/28/09 - 2/7/10
New Museum, NY
Zurich-born, New York-based artist Urs Fischer will be the first artist to take over the entire New Museum on the Bowery. For his first large-scale solo presentation in an American museum to date, Fischer will transform the New Museum's gallery spaces by creating a mesmerizing environment featuring towering monuments, tangled abstractions, and a labyrinth of mirrors. This exhibition will be the culmination of four years of work. Neither a traditional survey nor a retrospective, but rather an "introspective," as organizing curator Massimiliano Gioni calls it, the show will combine new productions and iconic artworks, allowing for an in-depth look at Fischer's practice. Choreographed entirely by the artist, the exhibition will offer viewers the unique opportunity to immerse themselves in Fischer's universe, which is both spectacular and fragile.
Mixed mediums, dimensions variable.
Courtesy the artist; Gavin Brown's enterprise, New York;
Sadie Coles HQ, London, and Galerie Eva Presenhuber, Zurich
Cast aluminum, approx. 157 1/2 x 110 1/4 x 102 3/8 in (400 x 280 x 260 cm).
Courtesy the artist; Gavin Brown's enterprise, New York;
Sadie Coles HQ, London, and Galerie Eva Presenhuber, Zurich.
from a suite of three framed prints.
Cast aluminum, steel chain, iron particles, 11 3⁄8 x 12 5⁄8 x 9 in (29 x 32 x 23 cm); Chain: 137 3⁄4 in (350 cm).
Cast polyurethane, steel pipes, electromagnets, 72 1⁄2 x 29 3⁄4 x 21 5⁄8 in (184 x 75.5 x 55 cm).
-
Art Review | Urs Fischer
Exploration of Space
By ROBERTA SMITH
October 29, 2009 / The New York Times
The sculptor Urs Fischer is hot, young and European. When it comes to installation art, he is prone to an efficient form of spectacle: he simply has very large holes cut or dug in the walls or floors of galleries, museums and the occasional art fair booth, usually to startlingly beautiful effect. Implicitly Duchampian yet marvelously experiential, these pieces have seemed to signal the end of installation art, like monochrome paintings sometimes seem to forewarn the end of painting. Add nothing, just use the space and the architecture, dummy. Boom.
The New Museum, seeking some heat of its own, has given Mr. Fischer the run of nearly all the exhibition space — three full floors — in its two-year-old building. It’s a smart move, even if those hoping for a sizable new aperture in one of the museum’s surfaces will be disappointed. The exhibition, titled “Urs Fischer: Marguerite de Ponty” (the subtitle referring to a character from the Symbolist poet Mallarmé), has been supervised by Massimiliano Gioni, a New Museum curator.
In the trifecta of sculpture surveys at major New York museums this fall — expect Roni Horn at the Whitney next week and Gabriel Orozco at the Museum of Modern Art in December — Mr. Fischer’s show started in the lead, with the most anticipation. It felt premature, presumptuous and unpredictable, even though Mr. Fischer, who was born in Switzerland in 1973, descends from a line of German-speaking bad boys that includes Sigmar Polke and Martin Kippenberger and that has been one of the strongest strains of postwar art. Anything could happen, the thinking went, given Mr. Fischer’s capricious, encompassing and, at best, fearless conception of sculpture.
...
-
http://www.youtube.com/watch?v=YIbuL1JDjto Massimiliano Gioni of the New Museum
http://www.youtube.com/watch?v=XZb5hqGHCu0 "Noisette"
