The Aishti Foundation is proud to present “Urs Fischer: The Lyrical and the Prosaic”, a major exhibition by Swiss born, New York based artist Urs Fischer.
In the past two decades Urs Fischer has been recognized as one of the most respected artists of his generation, having exhibited at prestigious institutions such as the Legion of Honor, San Francisco (2017), Garage Center for Contemporary Art, Moscow (2016), Museum of Contemporary Art, Los Angeles (2013), Palazzo Grassi, Venice (2013), New Museum, New York (2009), Kunsthaus Zurich (2004), and Centre Pompidou, Paris (2004), as well in numerous era defining exhibitions such as the 10th Gwangju Biennale (2014), the 54th Venice Biennale (2011), and the 2006 Whitney Biennial. His work is featured in some of the most important collections in the world including: the Pinault Collection, the Dakis Joannou Collection, the Brant Collection.
Conceived and choreographed by the artist, this will be Fischer’s first museum exhibition in the Middle East.
Often humorous and irreverent, Fischer’s works underscore notions of impermanence, metamorphosis, and change through the artist’s particular attention to materials and their transformation over time. His large-scale installations, sculptures, and wall works have incorporated both durable and organic mediums in an alchemy of correspondences and juxtapositions that evoke the passing of time with a uniquely uncanny approach. “I don’t care about big or small,” Fischer has explained; instead, he revels in the “collisions of things, and how objects relate to each other.”
Coupling a vernacular sensibility with a neo-baroque taste for the grandiose and the decrepit, Fischer creates all encompassing aesthetic universes where architecture and bodies tremble under the forces of entropy and decay, developing a complex reflection on the commemorative function of sculpture and the inherent frailty of life.
This exhibition brings together a selection of recent works shown along pieces from the Aishti Collection and a series of appositely realized new installations, paintings, and interventions.
Recurring throughout the exhibition is Fischer’s fascination with frequent subversions of scale and constant shifts from the monumental to the minuscule, and, as the title of the exhibition suggests, from the sublime to the prosaic.
Central to the exhibition is Fischer’s new and largest rain-storm installation composed of thousands of individually painted water drops dramatically suspended from the ceiling of the exhibition space.
The exhibition also features a new total environment with a wallpaper installation reproducing thousands of drawings originally created as part of Headz, an informal collaborative project Urs Fischer had initiated in New York in 2018 with Spencer Sweeney and Brendan Dugan.
Including a series of polychrome miniature bronzes, kinetic and wax sculptures, paintings and drawings, the exhibition confirms Fischer as a restless experimenter whose work reconnects to a lineage of contemporary sculptors and artists such as Claes Oldenburg, Martin Kippenberger, and Isa Genzken, all equally fascinated by the unstable beauty of humble materials and the tension between order and disorder.
This survey follows the major exhibition “Trance” by Albert Oehlen, and a trilogy of exhibitions (“New Skin”; “Good Dreams, Bad Dreams”; and “The Trick Brain”) devoted to works from the Aishti Collection.