Unbound : possibilities in painting
I'm thinking about painting at the moment.
URS FISCHER
URS FISCHER
Douglas Sirk
06 Oct- 11 Dec
Sadie Coles
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| My visitor tutor recommended the artist- URS FISCHER. I visited his exhibition near the Regent street. It was impressive in some way but I don't know why he told the artist to me. Text from the gallery http://www.sadiecoles.com/exhib8_more.html Urs Fischer’s major exhibition of new sculptures, Douglas Sirk, marks the inauguration of the new Sadie Coles gallery space in London’s West End. The artist has built a hall of cuboid mirrors—chrome-steel boxes screenprinted with dazzlingly high-resolution images showing five views (front, back, sides and top) of miscellaneous objects. A high-heeled boot, taxidermy duckling, onion and various other ephemera have been photographically dissected and reproduced across the boxes’ five exposed planes in ‘hyper-real’ definition. The items are surreally enlarged—their amplified scale accentuating their intrinsic forms—yet they hover inside the borders of their reflective portals with cartoonish lightness: Fischer has commented that he intends for the images to “float” and their supports to dissolve. The sculptures are a continuation of the extensive series exhibited last year at the New Museum in New York, Service à la française (2009), arguably Fischer's most ambitious project to date. This new exhibition is titled in homage to the mid-twentieth-century film director Douglas Sirk, famous for weepy suburban melodramas shot in shimmering Technicolor. Sirk's kitsch scenography and sensational storylines mask a subtle critique of social conformity in the 1950s; moreover his pictures abound tellingly with mirrors, screens and window panes in which characters are artfully reflected, framed and divided. Fischer’s new sculptures distil and reformulate physical reality in a process described by curator Bice Curiger as a “cubing of the sphere”. The peeled and divided clementine represented on one of the boxes is an apt emblem of this strategy of segmentation, whereby material forms are schematized into ‘cardboard cutouts’ while paradoxically conveying a beguiling illusion of three-dimensionality. Several of the objects depicted are replicas, toys or miniaturisations (such as a doll’s house), whose incongruous amplification results in an ambiguous and dizzying upending of scale while laying bare the fundamental disjunction between reality and its imaginative re-castings. In common with much of Fischer’s art, the works carry understated references to art history, from Michelangelo Pistoletto’s printed mirrors to still life painting and its use of fruit as a vanitas symbol. The pristine images furthermore recall the fetishised commodities of Pop Art and commercial still life photography, although Fischer’s objects are often contrastingly lacklustre—as Curiger notes: “These wares, unlike those promoted by advertising, have no lifestyle appeal: They are of questionable taste and they are not new or fresh”. The objects also echo the artist’s earlier works; fruit appears repeatedly in his sculptures, while the utilitarian modernist chair shown on one box reprises a key motif (chairs serve throughout Fischer’s work as surreal and tragicomic stand-ins for the human form). Each work reaches out to the next in a chain of signification—an effect underscored by the mirrors’ vertiginous effects of visual extension. The differently sized boxes form a virtual-reality labyrinth as viewers move between them, and are captured and multiplied in a Baroque myriad of reflections. In this respect, the installation recalls Fischer’s earlier works involving mirrors, such as his sculpture Dr. Katzelberg (Zivilisationsruine) (1999) which contains multiple mirror cubes placed at right angles to one another, with a few small pieces of mirror resembling cats. In Death of a Moment (2007), two entire walls are equipped with floor-to-ceiling mirrors and set in motion by a hydraulic system, to create the surreal effect of a room in flux, morphing in shape and size. Urs Fischer traverses the fields of painting, sculpture and installation, as well as photography and drawing, in a multifaceted body of work that eludes formal or generic categorisation, coaxing comparisons with the multifarious practices of Martin Kippenberger, Franz West, Fischli & Weiss and others. Urs Fischer was born in Switzerland in 1973. He has had solo shows throughout Europe and the USA, includingOscar the Grouch, Brant Foundation, Greenwich (CT) (2010) and Marguerite de Ponty, New Museum, New York (2009). In 2004, Not My House Not My Fire took place at Espace 315, Centre Georges Pompidou, Paris, and the retrospective Urs Fischer: Kir Royal was held at the Kunsthaus Zürich, Switzerland. Urs Fischer’s work has been included in numerous group exhibitions including the Venice Biennale in 2003 and 2007. |
first exhibition
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| The real thing 2010 acrylic, apple, pear, banana, tomato, pepper |
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| If you see them from side, you can see the rest of real surface on the bottom. |
First year student's exhibition at triangle space in chelsea
6-10 December 2010
I have been working with a installation which disrupt perception of everyday objects. As can be seen, I painted colours on several fruits and vegetables with acrylic and hid the surface. The surface is flat and mat, and each object represents one colour except for the stem. Finally I put them on the floor.
This work is a continuance of my past work. I started to think that there was something important told by not being able to see a part of an object because I saw a photo which depicted a standing woman in a park but there was no point of contact between feet and ground. It showed just above her knee. It made me anxious and uncomfortable. Then choco-banana( one of a sweet banana coated with chocolate and you can see it selling at stall in festival in Japan.) hinted me because I hate the look and feel uncomfortable. I covered a banana with yellow and an apple with red. As a result of my experiment, I found the following.
-an interest which is a change of our familiar things we are used to seeing.
-a difference between typical image colour to apple and banana and real colour.
-a confusing sense of two-dimention even it is three-dimention.
In the other project, I enjoyed putting apples on a road intentionally and seeing the audience's reaction. The reason why I did is that I was seduced by impressive and accidental scenery such as just one apple left on a road when I came to London for the fist time. It is because of distinction from my country. I have got an interest in response to familiar things by people.
In this work, I painted completely different colours on fruits and vegetables, for instance making an pink and blue apple. By showing the red, pink and blue apple together as a group, the red apple would seem to be more real by the contrast but its surface is not real. I like this confusion of the sense.
The volume, form, inside and stem are real but only the surface is artificial. This effect provides disruption of an image we have got in our head.
Kaoru ishikawa
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