Museo Jumex presents the first major exhibition in Mexico and Latin America of the artist Urs Fischer

The First Art Newspaper on the Net    Established in 1996 Monday, May 27, 2024

Museo Jumex presents the first major exhibition in Mexico and Latin America of the artist Urs Fischer
Installation view Urs Fischer: Lovers. Museo Jumex, 2022 Photo: Stefan Altenburger Photography Zurich © Urs Fischer.

MEXICO CITY.- From April 2 through September 18, Museo Jumex will present Urs Fischer: Lovers, a 20-year survey of one of the most internationally celebrated artists working today and the artist’s first solo show in Latin America. Organized by Museo Jumex with guest curator Francesco Bonami, Urs Fischer: Lovers brings together new pieces made for the museum with works from international public and private collections as well as the artist’s own archive. Together, the works exhibit the wide-ranging creativity, humor, and depth of the artist’s practice.

Created specifically for Museo Jumex, The Lovers #2 is a 10-meter-high monumental sculpture made of cast aluminum, stainless steel, and gold leaf, showing two forms meeting, one balanced on top of the other. Installed on the museum’s plaza, the sculpture sits in dialogue with the museum’s architecture designed by David Chipperfield and engages viewers in a play on multiple art historical references that are recurrent themes in Fischer’s practice.

The exhibition will also feature some of the artist’s signature pieces. Two new life-sized portraits cast as candles will be presented, including one of philanthropist, visionary, and Fundación Jumex Arte Contemporáneo President Eugenio López Alonso. The candle portraits will burn over the course of the exhibition, marking the unavoidable passage of time.

Lovers is installed thematically, with each floor of the exhibition offering the viewer a distinct experience, creating shifts in emotion and perception and encouraging both a focused and detached gaze.

“Lovers is a beautiful hymn to the energy of life. To the forces that shape it and that consume it. To the feelings, the emotions and the fears that make life in general, no matter what, a wonderful adventure, a play, or a game with its winners and losers. The goal of this show is to be beautiful, experiential and exciting to watch, a game for the kids in the park to play while the grownups have fun on the side as they watch,” said Bonami.

“Museo Jumex is proud to present a solo show of one of the most fascinating artists of our time in Mexico. It is an honor to have been asked to sit for a portrait candle for this landmark exhibition,” said Eugenio López Alonso. “I hope the people of Mexico City will embrace this extraordinary artist.”

In the third floor gallery, a landscape is created by a variety of sculptures and paintings that have been produced over more than 25 years. The cacophony of styles, messages, scales, and relationships offers viewers a look at Fischer’s early creative process, revealing his fascination with both the ideas of play and existentialism. A mirror cat sits in the middle of a roughly built hall of mirrors (Dr. Katzelberg (Zivilisationsruine), 1999). Devoted to details rather than spectacular works, Fischer encourages viewers to shift their gaze from small works—a mechanical tongue sticking out from a wall (Noisette, 2009)—to larger sculptures, such as a bed crushed under a pile of concrete (Kratz, 2011). Works that appear as sleight of hand, such as a toilet bowl filled with fresh fruit (Untitled, 2015), reference Duchamps’s ready-mades. A broom lifted by a balloon (A Place Called Novosibirsk, 2004), a butterfly resting on a fresh croissant (Nickname, 2009), a painting done moving a finger on the screen of an iPad (Shelf, 2019) highlight how Fischer’s work is a dialogue between simplicity and complexity.A chair and a cigarette lighter grafted to each other (You Can Not Win, 2003) is an image that the artist has returned to recently in his exploration of the new digital world of NFT art.

The second floor returns to the Rococo. A large installation of raindrops (Melody, 2019) occupies most of the gallery. A pair of mechanical snails (Maybe, 2019) slowly slide around the space and a haunted wooden door (Untitled (Door), 2006) adds a fairytale mood to the experience.

On the first floor, an aluminum rhinoceros bombarded by a myriad of objects (Things, 2017) is the centerpiece. The life-size figure of a rhinoceros represents human history—grounded yet sustaining the aggression and consumerism, a monument to permanence and consumption, entropy, and gravity. In the same gallery, Fischer’s portrait candles will burn continuously. Seen through the gallery window, another skeleton (Invisible Mother, 2015) serves as a reminder that not everything disappears after we cross the threshold to another world.

Today's News

April 2, 2022

The African artist-writer who mapped new worlds

Rembrandt rediscovery in Berlin's Gemäldegalerie

Christie's presents The Collection of Anne H. Bass

A rediscovered Titian will be offered at Dorotheum 11 May

Nancy Lane, spirit behind Studio Museum in Harlem, dies at 88

Researchers find another clue in the Dyatlov Pass mystery

Patrick Demarchelier, fashion photographer, dies at 78

Museo Jumex presents the first major exhibition in Mexico and Latin America of the artist Urs Fischer

Christie's presents The Kairos Collection: Exceptional Contemporary Timepieces by Patek Philippe

Exceptional Chinese vase forms and furniture lead Freeman's April 13 Asian Arts Auction

FOMU opens exhibitions of works by Diana Markosian, Bertien van Manen, Alexey Shlyk & Ben Van den Berghe

Neue Auctions announces highlights included in the English & Chinese Export Art & Antiques Auction

Dix Noonan Webb to hold special banknote auction featuring 500 portraits of The Queen

Storyboard P: Where is the place for a genius of street dance?

Ukraine's most famous living composer is now a refugee

How Stephen Sondheim's work did (and didn't) translate to the screen

Andrew Kreps Gallery opens the gallery's first exhibition with Oliver Lee Jackson

Auction results: African American Art at Swann

When the master of the erotic thriller fails to thrill

RUR Architecture's exhibition Lyrical Urbanism: The Taipei Music Center opens at Cooper Union in NY

Hollywood star gives Broadway a much-needed boost. sound familiar?

Ted Mooney, author of inventive novels, is dead at 70

A producer seeks a Broadway comeback, mired in offstage drama

Why You Shouldn't Lie About Being a Qualified Purchaser

Top Reasons Why You Should Add Dumps When Preparing to Become a Microsoft Certified: Azure Solutions Architect Expert

Tablet vs Laptop for drawing


How to choose the best laptop for artists and Digital Art

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit
Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful