PRINT May 2003


Urs Fischer is not Matthew Barney. The autonomous, if decidedly lo-fi, objects Fischer crafts are the very antitheses of the spectacular “sets” Barney creates to further his self-generated mythology. Barney’s practice literally trades in high production values: He typically fabricates secondary objects to finance the film extravaganzas that ultimately provide the narrative context on which his metasculptures depend. Fischer, on the contrary, is a “sculptor’s sculptor,” minus the backward-looking baggage the notion suggests. Like Dieter Roth, Franz West, Charles Ray, and Paul Thek, Fischer is firmly invested in a sculptural tradition without being traditional.

Fischer, who was born, raised, and schooled in Zurich but now divides his time between Los Angeles, Berlin, and his hometown, employs materials readily available at your neighborhood hardware store—wood, wax, Styrofoam, mirror, glass,

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