URS FISCHER 1/3 - The Artist in Context
Urs Fischer, is a Swiss contemporary artist born in 1973 in Zurich. His practice range goes from photography to large scale installation, passing by painting and sculptures in different materials like wax, plasticine, aluminum or clay. Some of his notable works are a Bread House, a gigantic Bear Lamp, the reproduction of the Abduction of a Sabine Woman by Giambologna in wax or The Kiss from Auguste Rodin made from plasticine.
From an early age, Fischer ignited his curiosity for art through his grandfather’s collection of art books showcasing various artists from different periods and their works. Growing up in a household where both parents were doctors, Fischer was exposed to a peculiar blend of medical imagery and discussions about abnormalities. This unconventional upbringing instilled in him a distinctive perspective on visual aesthetics, surrounded by images encompassing both beauty and imperfections. These divergent influences shaped Urs Fischer's artistic sensibilities and his approach to creating art that challenges traditional norms.
The absence of wartime destruction in Switzerland fostered a culture valuing harmony and stability, reflecting the Swiss people's inclination towards normalcy and balance. It is a country where there is a tradition of collecting art and supporting artists but with a light if none academic environment to train artists. Urs Fischer thus grew up in a culture mixing both a constraining tranquility and an autodidactic unstructured way of approaching art.
Fischer's first medium was photography that he experimented as an amateur and studied as a teenager. He learned all the technicalities that lead to the production of an image. He also worked in the world of theater where he created set designs and gravitated towards ephemeral sculptural elements.
This period of experimentation laid the foundation for Fischer's future artistic pursuits, showcasing his ability to blend diverse mediums and techniques to create captivating and uncanny works of art.
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⏱️⏱️ CHAPTERS ⏱️⏱️
00:00 : Urs Fischer : The Artist in Context
00:38 : Childhood
03:34 : Switzerland Culture
07:22 : Photography
08:55 : To Amsterdam and back to Zurich
🔵 Directed and produced by Pierre de Montesquiou / montesquiou 🔵
🔎🔎 LINKS 🔎🔎
Urs Fischer website : ursfischer.com/
Urs Fischer Instagram : / chaosursfischer
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Пікірлер: 2
Urs [also] talks about the hypothetical fairness of the Swiss, which is not fairness. If you ask a Swiss what bad character is, he will ask you what you mean by bad character. It's really just a vulgar search for the feeling of not feeling responsible [Swiss style], because the search for fairness is obviously useless. You'd rather not be fair, because striving for fairness looks ridiculous. When you do something wrong, you don't feel bad because you know that it is acceptable to do something that is unjust, [this is part of the doctrine of predestination and basically left-handed right-wing]. You need not to worry about fairness if anything is preordained. But fairness goes far beyond language, it means dealing with something bigger. The most interesting and important artists are fair or promote fairness. It's fairness with a twist. Check out some artists: Chris Burden, Martin Kippenberger, Bruce Nauman, Cady Noland, Hugo Markl, Cindy Sherman, Jenny Holzer, Barbara Kruger, Andrea Fraser and Robert Smithson. These are artists whose art is based on fairness as a driving force, as a starting point and arrival. A fair public and a fair private sphere do not have to contradict each other. THE GENERAL
@Ourchoices
2 ай бұрын
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