installed in the new extension of the Kunsthaus Zürich
Urs Fischer's sculpture 8 from 2014 has been installed in the new Chipperfield Building at the Kunsthaus Zürich. The official inauguration of the new extension is scheduled to take place on 9 October 2021.
Urs Fischer et al.
Anti-Structure (group show)
DESTE Foundation, Athens
2 June – 27 October 2021
Taking as its starting point an immersive installation with works by Urs Fischer and placing it in dialogue with the work of twenty-one Greek and Cypriot artists of various generations and modalities, Anti-Structure explores the far-fetched realm of fine lines between order and chaos, stasis and flux, structure and fragility.
Coined in 1969 by cultural anthropologist Victor Turner (1920–1983), “anti-structure” is a study of the state of mental and spiritual limbo that is characteristic of the second stage—the liminal stage—of any rite of passage, when the novitiate is neither here nor there but, betwixt and between, remains enveloped in abiding upheaval and disarray and a preternatural void. Anti-structure thus describes a stage of perpetual transformation characterized by moments of dissolution where “structural hierarchies are flattened or inverted.” Whereas the dominant ideology du jour was that any such breakdown would result in anomie and angst, Turner recognized that in times of great happenstance, culture in fact reboots itself and new symbols, models, and paradigms arise.
It is not unusual to find such pockets of clandestine novelty simmering deep in the underground, the pregnant margins of normative order. It is in these lands of strangers and exiles, that one finds fertile ground for radical thought and very strange ideas. It is these ideas cultivated in the fringes of institutionalized etiquette that bring forth novel ways of dress, posture, and expression, attitudes that when fully formed feed back into the system to either break or make the mainstream.
Urs Fischer, Richard Prince, Rudolf Stingel et al.
Bourse de Commerce – Pinault Collection, Paris
22 May – 31 December 2021
Works by Urs Fischer and Richard Prince are included in the inaugural exhibition at the Bourse de Commerce – Pinault Collection, which is on view from 22 May until 31 December 2021.
Urs Fischer’s installation, Untitled (2011), is presented in the Rotonda, in the monumental heart of the Bourse de Commerce. This is the first time the work has been shown in France. Fischer has redesigned Untitled to suit the scale of the space: a “public square” covered with a dome, reaching almost 40 metres in height.
Photographs from Richard Prince's Cowboy series are presented in the gallery on the first floor, along with a selection of series and ensembles from the 1970s to 1990s.
The Bourse de Commerce — Pinault Collection is the latest museum in a network of sites and initiatives developed by François Pinault since 2006. It offers a perspective on the contemporary art collection he has amassed over the last forty years, through a unique programme of exhibitions and events.
Bourse de Commerce
Urs Fischer et al.
The Paradox of Stillness: Art, Object, and Performance (group show)
Walker Art Center, Minneapolis
15 May – 8 August 2021
Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance examines the notion of stillness as both a performative and visual gesture. This major Walker-organized exhibition features pieces by an international roster of artists testing the boundaries between stillness and motion, mortality and aliveness, the still life and the living picture.
Stillness and permanence are common qualities of painting and sculpture. Consider, for example, the frozen gestures of a historical tableau, the timelessness of a still life painting, or the unyielding bronze or marble figure. Translating these traditional mediums into actions, artists use performance to investigate the interplay between the fixed image and the live body.
The Paradox of Stillness showcases more than 100 works by some 65 artists, including up to 15 live performances activated in the Walker’s galleries or public spaces at intervals throughout the presentation. Works on view range from object-based art and pictures that subtly come to life or shift outside the frame to actions staged by live performers that slowly unfold or unexpectedly reappear. Across the exhibition, puppets and automatons dance through space, while burning candles and rotting fruit mark time’s passing.
Walker Art Center