Urs Fischer: Marguerite de Ponty
The New Museum in New York is promoting the Urs Fischer: Marguerite de Ponty exhibition with a promotional film developed by Superfad. The project is the third collaboration between the New Museum and Superfad and the film is being featured on the New Museum website and played in NYC taxis.
Urs Fischer has taken over all three of the New Museums gallery floors to create a series of immersive installations and hallucinatory environments.
Click on the image below to play the video in YouTube (HD)
On the second floor, illusion and reality trade place in a game of multiple reflections. The installation Service à la française (2009)—Fischer’s most ambitious work to date—is a technical tour de force that required more than 25,000 photographs and over twelve tons of steel. More than fifty chrome boxes occupy the gallery, composing a grid of monoliths—a cityscape of mirrored cubes onto which the artist has silkscreened a dizzying array of images. Like a collage unraveling before the viewer’s eyes, the surfaces of the boxes create an optical maze that renders everything simultaneously immaterial and hyperreal.
On the third floor, Fischer presents an installation that turns the Museum’s architecture into an image of itself—a site-specific trompe l’oeil environment. Each square inch of the Museum architecture has been photographed and reprinted as a wallpaper that covers the very same walls and ceiling, in a maddening exercise in simulation. A piano occupies the space, appearing to melt under the pressure of some invisible force. Simultaneously solid and soft, like a Salvador Dalí painting in three dimensions, this sculpture, like many other works by Fischer, seems to succumb to a dramatic process of metamorphosis.
On the fourth floor, Fischer presents five new aluminum sculptures cast from small clays, hand-molded by the artist. Hanging from the ceiling or balancing awkwardly in space, these massive abstractions resemble strange cocoons or a gathering of enigmatic monuments.
“It was a really amazing opportunity to be able to explore such epic pieces of work and present them in a unique way,” says Superfad Director Tesia Alexandra. “We were able to get such wonderful shots very close and detailed because of the freedom and versatility of using the brand new Panasonic micro 4/3 Lumix GH1.”
Music is by Morgan Visconti at Human Worldwide.