Urs Fischer at Paris Stock Exchange...
10:24 p.m.01/11/22 - In the newly recycled building of Paris Stock Exchange, now converted into a museum by collector François Pinault, the artist Urs Fischer (Switzerland, 1973) displays his most ambitious installation to date. Untitled is a meticulous recreation of the sculpture by Giambologna (Douai, today France, 1529) The Rape of the Sabine Women (1579-1582), located on a pedestal (as those sculptures located in public squares of Italy), plus a series of chairs next to a single spectator who is actually the representation of Rudolf Stingel (Rudi, Fischer's friend).
Regarding the seven chairs, the sign explains that they are a recreation of different models, representing contemporary globalization and that they belong to different places on the planet. As everything takes place within a space that was the center of commerce, the chairs symbolize the exchange between the different Continents. The entire artwork is made of candle and each one of them was lit on opening day. The instructions defined by the artist explain that once the wax is consumed, the work disappears as a demonstration of the fragility of what surrounds us. Everything that was worked so meticulously and with such effort will be consumed in a short time, a transformation that demonstrates the destruction of the creative process.
Untitled, de Urs Fischer (2011-2020)
Materials: wax, pigment, wicks, steel.
Giambolona, Giambolona pedestal, Rudi, Office chair, Monobloc chair, Baobab chair, Bullet chair, Longback chair, Airplane seat, Banana chair.
The fascination caused by observing this kind of "performance" that evolves towards disappearance is indisputable: the sculptures are mutating from realism to abstraction and, as they melt, the wax falls on the floor, sometimes in whole pieces. There is no warning to visitors, no prohibited spaces, everything happens while we are there. If you are lucky enough to have something fall on you, you will be part of this installation that will be remembered for a long time.
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