From April 2 by means of September 18, Museo Jumex in Mexico Metropolis will present Urs Fischer: Fans, a 20-calendar year survey of 1 of the most internationally celebrated artists doing the job now and the artist’s initially solo present in Latin America. Structured by Museo Jumex with visitor curator Francesco Bonami, Urs Fischer: Fans brings collectively new parts produced for the museum with functions from global general public and private collections as nicely as the artist’s personal archive. With each other, the functions show the huge-ranging creativeness, humor, and depth of the artist’s follow
Produced precisely for Museo Jumex, The Lovers #2 is a 10-meter-superior monumental sculpture produced of solid aluminum, stainless steel, and gold leaf, showing two types assembly, 1 balanced on major of the other. Set up on the museum’s plaza, the sculpture sits in dialogue with the museum’s architecture intended by David Chipperfield and engages viewers in a engage in on numerous artwork historical references that are recurrent themes in Fischer’s follow.
The exhibition will also element some of the artist’s signature pieces. Two new lifestyle-sized portraits cast as candles will be offered, together with 1 of philanthropist, visionary, and Fundación Jumex Arte Contemporáneo President Eugenio López Alonso. The candle portraits will burn off over the study course of the exhibition, marking the unavoidable passage of time.
Lovers is installed thematically, with every single ground of the exhibition supplying the viewer a distinct encounter, building shifts in emotion and notion and encouraging the two a focused and detached gaze.
“Lovers is a attractive hymn to the energy of lifetime. To the forces that shape it and that take in it. To the inner thoughts, the feelings and the fears that make life in basic, no make a difference what, a superb experience, a perform, or a match with its winners and losers. The intention of this display is to be wonderful, experiential and enjoyable to view, a game for the little ones in the park to play even though the grownups have pleasurable on the aspect as they watch,” said Bonami.
“Museo Jumex is proud to present a solo clearly show of 1 of the most fascinating artists of our time in Mexico. It is an honor to have been questioned to sit for a portrait candle for this landmark exhibition,” stated Eugenio López Alonso. “I hope the individuals of Mexico Metropolis will embrace this extraordinary artist.”
In the 3rd ground gallery, a landscape is developed by a assortment of sculptures and paintings that have been created around a lot more than 25 years. The cacophony of designs, messages, scales, and associations provides viewers a glimpse at Fischer’s early inventive method, revealing his fascination with the two the strategies of play and existentialism. A mirror cat sits in the middle of a roughly created corridor of mirrors (Dr. Katzelberg (Zivilisationsruine), 1999). Devoted to facts fairly than breathtaking operates, Fischer encourages viewers to shift their gaze from modest works—a mechanical tongue sticking out from a wall (Noisette, 2009)—to larger sculptures, this kind of as a mattress crushed beneath a pile of concrete (Kratz, 2011). Operates that surface as sleight of hand, such as a bathroom bowl filled with clean fruit (Untitled, 2015), reference Duchamps’s ready-mades. A broom lifted by a balloon (A Area Identified as Novosibirsk, 2004), a butterfly resting on a clean croissant (Nickname, 2009), a portray finished relocating a finger on the monitor of an iPad (Shelf, 2019) spotlight how Fischer’s do the job is a dialogue in between simplicity and complexity. A chair and a cigarette lighter grafted to each other (You Can Not Earn, 2003) is an picture that the artist has returned to recently in his exploration of the new electronic entire world of NFT artwork.
The next flooring returns to the Rococo. A large set up of raindrops (Melody, 2019) occupies most of the gallery. A pair of mechanical snails (Maybe, 2019) little by little slide close to the place and a haunted wood doorway (Untitled (Doorway), 2006) provides a fairytale mood to the encounter.
On the to start with flooring, an aluminum rhinoceros bombarded by a myriad of objects (Factors, 2017) is the centerpiece. The life-sizing figure of a rhinoceros represents human history—grounded still sustaining the aggression and consumerism, a monument to permanence and intake, entropy, and gravity. In the exact gallery, Fischer’s portrait candles will melt away repeatedly. Found through the gallery window, an additional skeleton (Invisible Mom, 2015) serves as a reminder that not every thing disappears immediately after we cross the threshold to one more world.
