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1053.1 [m]

Urs Fischer

Untitled, 2014

Im Zentrum von Urs Fischers omnivorer Herangehensweise zum Kunstschaffen, steht die Idee der Transformation. Die zwei hier ausgestellten Skulpturen (beide Untitled, 2014) sind als Teil einer massiven Installation von Tonwerken entstanden. Sie wurden durch die 1’500 Personen kreiert, die eingeladen wurden, an der Produktion von Fischers jüngster Ausstellung im MOCA Geffen Contemporary mitzuwirken. In Bronze umgestaltet, nehmen hier grösstenteils durch die Öffentlichkeit geschaffene Skulpturen ihren Platz neben öffentlichen Skulpturen ein. Bezeichnenderweise werden Bedeutung, Genre und Inhalt einander entgegengesetzt.

Promenade 20, Gstaad
7.28645 / 46.47302

Urs Fischer; Untitled, 2014

Urs Fischer; Untitled, 2014 © Stefan Altenburger
Urs Fischer; Untitled, 2014 © Stefan Altenburger

Urs Fischer: YES at LA MOCA

Urs Fischer and various artists, YES, 2011–
Unfired clay sculptures modeled on-site by multiple authors
Dimensions variable
© Urs Fischer. Courtesy of the artists.

Urs FischerTalk with Neville Wakefield

Swiss artist Urs Fischer talks to curator Neville Wakefield about art and identity

Neville Wakefield: Let’s start with tattoos and the writing of identity on the body. Did you get tattoos before you made any art?
Urs Fischer: No. I mean, when do you start making art? To children art is natural. It’s only later that art becomes unnatural or is seen as a strange thing you do. Everybody, as a kid, is an artist.

NW: And then we lose it.
UF: You lose it or you exchange it for other ways of playing or interacting. But it is natural. What it is I don’t know, and how it ties in with identity I couldn’t tell you. From my point of view there’s something claustrophobic about artists’ oeuvres.

NW: Is that about becoming too much of a virtuoso? You get too good at what you do and you don’t know how to do anything else.
UF: You program your mind to this sort of thing. There are certain forms of feedback people receive that make them think they’re on the right path. It’s inevitable that you become what you become. What I always try to do is run away, because it freaks me out.

NW: Is that fear of classification, or of being defined?
UF: I think it’s that you don’t want to be this guy. Maybe you want to be that guy, but you want to be that guy for a week. And then you would like to explore other things. The strange thing is there is something appealing about “that guy” to some people. For instance, with Duchamp, who cares about the works, at this point? It’s just the reproductions and the fantasy of “that guy”. He worked really hard all his life to keep that fantasy alive.

Download PDF of full interview below...

Urs FischerSite Visit Gstaad

Urs FischerCV

Born in 1973, Urs Fischer began his career in Switzerland where he studied photography at the Schule fur Gestaltung, Zurich. He moved to Amsterdam in 1993 and had his first solo show at a gallery in Zurich, in 1996. Fischers subversive approach to art is often considered to be influenced by anti-art movements like Neo-Dada, Lost Art or the Situationist International. Since Fischer began showing his work, in the mid-nineteen-nineties, in Europe, he has produced an enormous number of objects, drawings, collages, and room-size installations.


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