Urs Fischer -

Urs Fischer, Foamcore, 2017, aluminum panel, aramid honeycomb, two-component polyurethane adhesive, two-component epoxy primer, galvanized steel rivet nuts, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, acrylic paint, and oil medium, 96 × 120 inches (243.8 × 304.8 cm) © Urs Fischer. Photo by Mats Nordman.

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Opening reception:
Monday, March 20, 6–8PM


As an artist you compete with reality, and the order of reality is always more interesting than the order you can make. But, because you make the order, it becomes information.
—Urs Fischer

Gagosian is pleased to present new works by Urs Fischer. This is his first solo exhibition in Asia.

Fischer reinvests traditional art historical genres (still life, portraits, nudes, landscapes, and interiors) with an abundance of rich and surprising forms. In his cast sculptures and assemblages, paintings, digital montages, spatial installations, kinetic objects, and texts, he ceaselessly mines the intersection where art meets everyday life. He has built houses out of bread, enlivened empty space with mechanistic jokes, deconstructed objects and then replicated them, and transferred other objects from three dimensions to two and back again via photographic processes. His daring formal adventures in space, scale, and material also reveal a mordant sense of humor.

For the title of this exhibition, Fischer provides a musical staff, with a treble clef and several notes positioned along four—rather than the customary five—lines. The notation implies music, but with no apparent tune; it is a title, yet it is inexpressible. Such paradoxes course through Fischer's oeuvre. In his Problem Paintings from 2011, he obstructed vintage publicity headshots with silkscreened images of ordinary objects such as a bolt or a banana. The current exhibition continues this perception-altering pursuit; it comprises eleven large-scale tableaux made up of found images, expressive gestures, and photographs of the artist’s personal spaces. But these pictures are neither paintings nor photographs, neither abstract nor representational. By digitally manipulating photographs of brushstrokes, Fischer forges gestural streaks by inserting and blurring images of television screens, faces, and more. The brushstrokes are silkscreened over “homescapes” and “studioscapes” (domestic and atelier views) that provide glimpses of works in progress, art materials, furniture, and artworks from Fischer’s own collection.

In Foamcore (2017), silkscreen test prints and works by Fischer and others are propped against a studio wall. Purple blots and smears of television static interrupt perspectival logic, making it difficult to tell whether the brushstrokes are on the surface of the painting or on the stacked works in the room. By destabilizing the pictorial conventions of foreground and background, Fischer also plays into a long art-historical tradition of paintings within paintings, from the nautical scenes and maps on the walls of Vermeer's interiors, to Velázquez's grand enigma Las Meninas, to Matisse’s pictographic Red Studio. Undermining the assumed conventions of painting and photography, Fischer's cunningly generated visual strata act as unstable and irresoluble meditations on the act of looking.

Urs Fischer was born in Zurich in 1973, and lives and works in New York. Collections include Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Vanhaerents Art Collection, Brussels; FRAC-Provence-Alpes-Côte d’Azur, Marseille; Fondation Carmignac, Paris; Kunstmuseum Basel; Migros Museum für Gegenwartskunst, Zurich; and Museo d'arte della Svizzera Italiana, Lugano, Switzerland. Exhibitions include the 50th Biennale di Venezia (2003); “Kir Royal,” Kunsthaus Zurich (2004); “Not My House Not My Fire,” Espace 315, Centre Georges Pompidou, Paris (2004); “Mary Poppins,” Blaffer Gallery, Art Museum of the University of Houston, TX (2006); the 52nd Biennale di Venezia (2007); “Marguerite de Ponty,” New Museum, New York (2009–10); the 54th Biennale di Venezia (2011); “Skinny Sunrise,” Kunsthalle Wien (2012); “Madame Fisscher,” Palazzo Grassi, Venice (2012); Museum of Contemporary Art, Los Angeles (2013); “YES,” DESTE Foundation Project Space, Slaughterhouse, Hydra, Greece (2013); “∞” The Modern Institute, Glasgow (2015); “Small Axe,” Garage Museum of Contemporary Art, Moscow (2016); and “Mon cher...,” Fondation Vincent Van Gogh, Arles (2016).

This April, Fischer’s work will be installed alongside sculptures by Auguste Rodin at the Legion of Honor in San Francisco. The exhibition is a part of the Rodin Dialogues, a series of installations to coincide with the centenary of Rodin’s death in 1917.

For further information please contact the gallery at [email protected] or at +852.2151.0555. All images are subject to copyright. Gallery approval must be granted prior to reproduction.

Please join the conversation with Gagosian on Twitter (@GagosianAsia), Facebook (@GagosianGallery), Google+ (@+Gagosian), Instagram (@GagosianGallery), Tumblr (@GagosianGallery), and Artsy (@Gagosian-Gallery) via the hashtags #UrsFischer  #GagosianHongKong.

 



開幕酒會: 
3月20日(星期一)晚間6時至8時


作為藝術家,你要與現實世界競爭,現實的秩序比自己能創造的秩序永遠有趣得多,但你創造的秩序,會變成信息。
—烏爾斯‧菲舍爾

高古軒畫廊欣然呈獻烏爾斯‧菲舍爾首次亞洲個展,展出他的精彩新作。

菲舍爾以各種令人意想不到的形式,重新探索靜物、肖像、裸體、風景與室內景觀等傳統藝術類別。他透過雕塑、裝配藝術、繪畫、數碼剪接、空間裝置、動態藝術及文字,不斷發掘藝術與日常生活的連接點。除了建造麵包屋、以戲謔的機械活化空無一物的空間,以及解構和複製物品,他亦將立體物件變成平面,再以拍攝技巧還原至立體。菲舍爾以大膽手法探索空間、規模與物料的形式,展現尖酸的幽默感。

菲舍爾以四線譜(而非常見的五線譜)作為是次展覽的標題,上面只有一個高音譜號和幾個音符,既是樂曲,卻沒有旋律,既是標題,卻晦澀難懂。菲舍爾的作品一向也存在這份矛盾,以2011年創作的《問題畫作》系列(Problem Paintings)為例,他以螺栓或香蕉等日常物品的絲網印畫,掩蓋舊式的名人頭像。是次展覽延續這種顛覆固有觀念的手法,11幅大型畫作由現成圖像、富有表現力的動作與菲舍爾私人空間的照片組成。這些作品既不是畫,也不是照片,亦並非抽象或具象作品。菲舍爾以數碼手法妙用筆觸的照片,插入並模糊電視畫面和人臉等圖像,重現繪畫的動作。筆觸以絲網印刷技術印於家居和工作室圖片上,讓觀賞者一窺菲舍爾創作中的作品、所用的物料、傢具及其收藏的藝術品。

在作品《泡沫板》(2017年)中,菲舍爾與其他藝術家的絲網印畫試版及作品靠在工作室的牆上,紫色的印跡與電視靜態畫面的雪花躁點擾亂透視邏輯,令人難以確定筆觸是位於畫作表面,還是房內疊起的作品之上。透過模糊前景與背景的影像,菲舍爾亦探索畫中畫的傳統藝術手法,從維米爾(Vermeer)室內畫牆上的航海風景和地圖、維拉斯奎茲(Velázquez)神秘的《宮女》(Las Meninas),以至馬諦斯(Matisse)的意象作品《紅色畫室》(Red Studio),皆採用此手法。菲舍爾顛覆繪畫及攝影的法則,巧妙塑造視覺層次,反覆而不解地反思觀賞藝術的行為。

烏爾斯·菲舍爾1973年生於瑞士蘇黎世,現於紐約定居及從事創作。他的作品為多間博物館納入館藏,包括紐約現代藝術博物館、洛杉磯當代藝術美術館、布魯塞爾Vanhaerents Art Collection、馬賽FRAC藝術館、巴黎卡米尼亞克基金會、巴塞爾美術館、蘇黎世Migros Museum für Gegenwartskunst及瑞士盧加諾瑞意美術館。他的展覽包括第50屆威尼斯雙年展(2003年)、蘇黎世美術館「Kir Royal」(2004年)、巴黎龐畢度中心Espace 315「Not My House Not My Fire」(2004年)、美國德州侯斯頓大學布萊佛美術館「Mary Poppins」(2006年)、第52屆威尼斯雙年展(2007年)、紐約新當代藝術博物館「Marguerite de Ponty」(2009–10年)、第54屆威尼斯雙年展(2011年)、維也納藝術館「Skinny Sunrise」(2012年)、威尼斯格拉西宮「Madame Fisscher」(2012年)、洛杉磯當代藝術博物館(2013年)、希臘伊茲拉島Slaughterhouse DESTE Foundation Project Space 「YES」(2013年)、格拉斯哥現代藝術學院「∞」(2015年)、莫斯科車庫當代藝術博物館「Small Axe」(2016年)及法國亞爾梵谷基金會博物館「Mon cher...」(2016年)。

今年四月,菲舍爾的作品將連同奧古斯特‧羅丹(Auguste Rodin)的雕塑於三藩市加州榮耀宮藝術博物館展出。展覽為《與羅丹對話》(Rodin Dialogues)裝置藝術系列之一,以紀念羅丹(卒於1917年)逝世100年。

如欲查詢,請電郵至[email protected]或致電+852 2151 0555與高古軒畫廊聯絡。所有圖片皆受版權保護,複製前必須取得畫廊許可

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Gagosian was established in 1980 by Larry Gagosian. | 高古軒由拉里•高古軒(Larry Gagosian)於1980年創立