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Madame Fisscher. Urs Fischer at Palazzo Grassi
Written by Chiara Casarin   

urs2.jpgAn artist makes a tool of public theoretical debate out of his own art, he surpasses himself, his very own thought process and craft. This is what makes him history material. When we silently gather by a work of art that calls for being investigated, read, understood, when we haphazardly try for an interpretation we know art made its point. It becomes a philosophical means for hypotheses and suggestions, their sake and their purpose.

 

Urs Fischer (Zurich, 1973) and his patchwork of ordinary objects, his assemblies of past memories now assume new shapes and new meanings. In Palazzo Grassi’s main hall, Fischer built a mock-up of his London Studio up to the finest details, from the perimeter masonry to placing all those objects whose everyday function is far from being artistic.

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 Palazzo Grassi becomes the place of legitimation, the place where all that is exhibited becomes art, itself taking on all responsibilities and implications. A studio becoming installation. Fischer explains that history of art inquiries fits in a system where the artist too properly belongs.

 

Hence, the cycle appears never to break, for the main protagonist feels the urge to quest for a reason, an explanation, at the origin of his art. Madame Fisscher is the title to the work opening the first monographic exhibition Pinault Collection dedicates to a living artist, a title illogic at first sight, ironic maybe, even illusory. Among the thirty works on show, with In Dubio pro Reo and The Lock of 2007, and prior A Thing called Gearbox Urs Fischer will challenge us, his pieces talk to each other and appeal us for our ability to avidly scout each and every nuance of meaning in their paradoxical composition and by the bravura we perceive we will not be let go until we grasp their deepest essence.