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Spread across MOCA Grand Avenue and The Geffen Contemporary at MOCA, the first survey in the United States of the Swiss-born artist Urs Fischer weaves together some of his most memorable and iconic sculptural works while creating an unexpected landscape in both venues. Fischer’s world is fluctuating and unpredictable, and the pleasure that we derive from his sculpture and painting is based on our attraction to and simultaneous repulsion by the dreamlike appearances that he constructs.
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Fischer’s work is characterized by an unending diversity of materials, strategies, concepts, and images. Sculptures are created through an elaborate aluminum casting process, roughly hewn in wood, or cast in wax only to melt away during the run of the exhibition. The artist delights in the possibilities of surface, but even works that suggest his handmade touch turn out to have been produced through a range of digital processes in order to create the oddly surreal appearance of reality gone wrong.
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A twisted take on the real, Fischer’ work unabashedly declares its affiliation to such art historical movements as Pop, Surrealism, and Dada, all of which similarly toyed with the found image to create new and unanticipated combinations, shifts of scale, and a sometimes violent collision of visual information.
photo juxtapoz.com
At MOCA Grand Avenue, Fischer presents a survey of works from the last two decades.
At The Geffen Contemporary at MOCA, Fischer has undertaken a vast collaborative project contributed to by 1,500 individuals invited to come and work in clay in the weeks preceding the exhibition opening. All were asked to join him in making figures and animals out of clay-familiar forms to all, allowing for variation within a theme so that the possibilities for style, structure, scale, and finish are open to exploration while the overall refrain remains the same.
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Scattered throughout the expansive space of The Geffen, the clay forms are interspersed with Fischer’s works, including the massive wax sculpture Untitled (2011), which takes the form of Giambologna’s Rape of the Sabine Women (1579-83). Subjected to a process of melting through the controlled burning of strategically located wicks, the work brings together the ephemeral and the monolithic.
photo juxtapoz.com
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via http://www.moca.org
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