Published by DESTE Foundation for Contemporary Art. Foreword by Dakis Joannou. Preface by Jean-Yves Marin. Text by Massimiliano Gioni.
An unusual hybrid between a solo exhibition and a group show, Urs Fisher: False Friends places the oeuvre of Swiss artist Urs Fischer (born 1973) in conversation with the work of a selection of his peers: Pawel Althamer, Maurizio Cattelan, Peter Fischli and David Weiss, Robert Gober, Martin Kippenberger, Jeff Koons, Paul McCarthy, Cindy Sherman and Kiki Smith. Drawn from the holdings of the Dakis Joannou Collection and installed in the beautiful spaces of Genevaís Museum of Art and History, False Friends proposes unexpected connections between artworks and aesthetics, methods and materials, offering a reading of contemporary art as a magnetic field of elective affinities and striking variationsóa cacophonic concerto of forms.
Constructed almost entirely of paraffin wax, "Julian" is one of Swiss artist Urs Fischerís most ambitious wax-candle sculptures to date. This large-format artist's book is composed entirely of photographs documenting Fischerís 2015 show in Amagansett, New York, where the life-size sculpture--made to resemble fellow artist Julian Schnabel--was exhibited and then set alight.
Bound in a tÍte-bÍche format as a reversible book with two front covers, Urs Fischer: Yes documents two iterations of the ongoing collaborative project of the same name orchestrated by Urs Fischer (born 1973), which has brought together thousands of collaborators from all walks of life-schoolchildren and adults, artists and amateurs-to make objects out of clay. Yes has populated numerous locations with clay figures, including the warehouse-like space of the Geffen Contemporary at The Museum of Contemporary Art, Los Angeles, and the sun-washed terrain surrounding the Deste Foundation's project space in a former slaughterhouse on the Greek island of Hydra. In this volume, installation photographs from both locations capture what entropy adds to the project: the unfired clay sculptures disintegrate over time, creating continuously changing landscapes of fragmented, crumbling forms.
The Making of Yes features photographs by Cassandra MacLeod documenting a vast collaborative project by Urs Fischer with contributions by 1,500 individuals who were invited to work in clay over the weeks preceding the opening of Fischerís retrospective exhibition at the Museum of Contemporary Art in Los Angeles. All were asked to join Fischer in making figures and animals out of clay, allowing for variation within a theme so that the possibilities for style, structure, scale and finish would be open to exploration while preserving the unity of the project. Filling the expansive spaces of the museum, the unfired clay forms disintegrated over time to create a fantastical landscape of fragmented figures. The lively photographs in this volume convey the hands-on sense of fun and excitement the individual participants experienced from partaking in this exuberant project.
Published by Kiito-San. Text by Jessica Morgan, Ulrich Lehmann.
Urs Fischer provides an overview of the Swiss artistís heterogeneous oeuvre and features many of his best-known works. Designed and conceived by Fischer, the book is arranged thematically rather than chronologically, with clusters of works that allow the reader to observe how Fischer has explored disparate formal strategies to engage with his multifarious interests--which include gravity, architecture, shadows, representation, destruction, entropy and time--and revisit favorite motifs, such as furniture, fruit, animals, skeletons and other surrogates for his cardinal subject, the human body, over the past decade and a half. Produced for his retrospective exhibition at the Museum of Contemporary Art in Los Angeles, this hefty volume includes essays by Jessica Morgan and Ulrich Lehmann that unpack the dominant thematics in Fischerís work and examine the significance of the materials and production techniques in his sculptural practice.
Published by DESTE Foundation for Contemporary Art. Edited by Karen Marta, Massimiliano Gioni. Text by Jessica Morgan.
Swiss artist Urs Fischer is best known for his dramatic transfiguration of the exhibition space, as well as for his unexpected transformations of quotidian objects. Offering grand gestures with a pop attitude, the artist works in a variety of media--which is grounded in sculpture despite the artist's training as a photographer--to explore the intersection between art and everyday life. Part of the new 2000 Words series, conceived and commissioned by Massimiliano Gioni and published by the Deste Foundation, this colorful monograph, with an essay by Jessica Morgan, presents the wide array of Urs Fischer's work in the Dakis Joannou Collection.
New York-based artist Urs Fischer (born 1973 in Zurich) has devised a surreal universe in which dust bunnies are magnified into landscapes and a lump of clay squeezed in the artistís fist becomes a towering monolith. In this catalogue for Fischerís solo exhibition at The Brant Foundation Art Study Center in Greenwich, Connecticut, a cast aluminum grave pierces the ceiling and the exhibition space becomes an excavation site. A gallery wallpapered with trompe líoeil reproductions of collector Peter Brantís living room features artworks from his extensive private collection. Wax likenesses of Brant have been set alight and slowly melt away, dissolving into puddles. With these audacious formal investigations of scale and material, Fischer has produced an off-kilter installation that disconcerts and entrances.
Documenting Urs Fischerís solo exhibition of the same title at the Kunsthalle Wien in 2012, Skinny Sunrise presents a survey of the artistís oeuvre. Among the new sculptures produced for the exhibition is Fischerís first candle self-portrait, which is set alight and slowly burns down before our eyes, in the fashion of his acclaimed installation at the Arsenale di Venezia, which was described by the Financial Times as ďthe single most stunning new piece anywhereĒ in the 2011 Biennale.
Published by Kiito-San. Introduction by Caroline Bourgeois. Text by Patricia Falguieres, Michele Robecchi.
Bringing together more than 30 works from numerous international collections spanning almost two decades of genre-defying production, this volume presents an overview of the artistís striking and often humorous work from the late 1990s to the present. It centers on an eponymously titled installation reconstituting the artistís former studio within the exhibition space.
Necrophonia documents a 2011 collaborative exhibition by Urs Fischer and Georg Herold at The Modern Institute in Glasgow. Transforming the gallery into a studio, the artists created sculptures based on models from a nearby art school. For the exhibitionís duration, the resulting sculptures--made of unfired clay, so that they started to disintegrate over time--were exhibited alongside the live nude models from which they were derived.
Published by JRP|Ringier. Edited by Massimiliano Gioni. Text by Jessica Morgan, Bice Curiger, Massimiliano Gioni.
In a move that now seems prescient, Swiss artist Urs Fischer--who was born in 1973--literally pulled the floor out from under viewers for a 2007 exhibition at Gavin Brown's Enterprise, New York, by digging through the gallery foundations and exposing the dirt and rubble beneath. Best known for this kind of dramatic transfiguration of the exhibition space, as well as for his unexpected transformations of quotidian objects and his lack of allegiance to any one style, Fischer consistently projects a sense of transience and existential uncertainty. This volume--which includes newly commissioned essays by Massimiliano Gioni and Jessica Morgan, as well as over 200 images of Fischer's work, including installation views and studio shots--functions like a search engine, cross-referencing Fischer's thought processes. Published concurrently with his solo exhibition at New York's New Museum, it was conceived by designer Scipio Schneider in close collaboration with the artist.
Published by JRP|Ringier. Edited by Urs Fischer. Text by Rein Wolfs.
One of the most striking and remarked-upon pieces at the 2006 Day For Night Whitney Biennial was Urs Fisher's, and the curators gave it pride of place: on entry, the first walls that viewers encountered had been torn open. Those new gallery entrances led through to an outsized candelabra, composed of two detailed aluminum tree-branches suspended parallel to the floor, each with a lit candle at one end, spinning in slow motion and creating interlocking circles of wax drippings on the floor. Those who remember it will not be surprised to find, in this survey of recent works, that Fischer has long been disorienting viewers with materials such as mirror-lined walls and gigantic plush bears.
Published by JRP|Ringier. Edited by Beatrix Ruf. Essay by Garrick Jones.
Urs Fischer's sculptures, drawings and installations, says curator Beatrix Ruf, strike the viewer ďas if an Internet search engine had generated a massive number of hits leading to technical and mental breakdown.Ē This book has been conceived by the artist as a cross-reading of his process-related and ďstyle-lessĒ work through the arrangement of more than 200 images, including reproductions of works, installation views, studio shots and special features. Using a multitude of ordinary materials, Fischer creates non-hierarchical collages of objects and thoughts, high and low aesthetics, mundane and artistic memories, and personal and political interrogations. Laid out as a studio journal, the publication also includes musical scores from the London-based composer, engineer and consultant Garrick Jones, who wrote eight compositions inspired by Fischer's work. The scores are reproduced over 200 pages of the book, and recordings of them are available separately on CD or as downloads.
Published by JRP|Ringier. Edited by Mirjam Varadinis. Essays by Bruce Hainley and Jŗrg Heiser.
The heterogeneous punk spirit of Urs Fischer is in full threat in this catalogue from his recent retrospective exhibition (including many new works) at Kunsthaus Zrich. All materials were considered fair game, and Fischer took every possible liberty in the museum space. He cut huge walk-through holes in the gallery walls and leaned the removed pieces on their edges in the rooms. He made burning wax sculptures, put obstacles on the ground, and hung a DANGEr sign above it all. As curator Mirjam Varadinis says, "the familiarity of everyday motifs is undermined in a process of metamorphosis that renders [the work] uncanny and even threatening." Of course, a dose of humor, drawing upon the grotesque, informs the work as well. You can try to name influences, inspirations, and related artists--Thek, Nauman, Barney, Fischli & Weiss--but Fischer is sui generis.