URS FISCHER, « BATTITO DI CIGLIA », MASSIMO DE CARLO MILAN
Urs Fischer « Battito di ciglia » – Massimo De Carlo – Palazzo Belgioioso, Milan – until 17 December 2016.
Urs Fischer is the first artist to exhibit in Massimo De Carlo’s two spaces: at the recently inaugurated space at Palazzo Belgioioso and in the gallery’s headquarters on Via Ventura.
Shifting between the familiar and the unknown, Urs Fischer’s world is populated by sculptures, installations, paintings, and drawings that construct an infinite anthology of mutations. With wit and an often-dark sense of humour, Fischer’s work provokes and evokes, playing with archetypes through the radical transformation of materials.
In the converted warehouse venue of Via Ventura Urs Fischer has created a microcosm of small- scale hand-painted and raw bronze sculptures. The twenty-six sculptures are like poetic vignettes that depict unusual interactions: they are delicate yet at the same time imposing, comical and shadowy as if they were hiding an allegorical secret. The gallery is transformed into a dazing miniature dreamlike tableau that captures moments in time: here these humorous reveries take the form of a satirical play on ordinariness. A barefoot man crawling into a crushed soda can, a nude lady reclining on a chaise longue next to a snail, a crying horse, a rat playing a piano: all these sculptures build a kaleidoscopic anthology of Urs Fischer’s imaginary, drawn from fragments of his career and aesthetics.
In the newly opened exhibition space in Piazza Belgioioso are two new sculptures: using photography, painting, and glass-making Urs Fischer has created two pairs of oversized, highly realistic eyeballs. These almost cartoonish sculptures reflect the viewer and the space at the same time, enhancing the uncomfortable feeling of being followed by a disturbing gaze.
“Battito di Ciglia” is a light-hearted investigation of scale, perception and observation that challenges the spatiality of the gallery and the contemplation of the viewer by playing with key themes of Urs Fischer’s practice: irrationality and darkness, playfulness and research, daydream and sombreness.
Photo Roberto Marossi