URS FISCHER： Chaos#501
“I like the idea of error. I think it’s just a beautiful word. Anything we do successfully in life is a potential error.” Urs Fischer, a New York City-based artist, mentioned it on The Brant Foundation. This perspective lends his art a fascinating, playful, and defies limits.
The NFT artwork, Chaos #501, is built from thousands of 3D models. Most of the items are familiar, such as basketball, toilet, Connect Four, and wigs. Those objects are rotating and are not limited by the physical rules of our world as they infinitely penetrate one another across the screen. These sculptures operate as archaeology in the present, aiming to be able to show the form of three-dimensional sculpture in motion.
Fischer's practice is characterized by a diversity of materials, strategies, and concepts. One of his most famous works is a giant wax figure, Untitled (2011), modeled after Jambologna's Rape of the Sabine Women (1579–83). The wax drips and solidifies during the melting process until it becomes nothing like death. The work mixes the ephemeral and the unique as it melts. Fischer experimented with previously uncharted territory in the Chaos series, expanding materials from real materials like clay and wax to digital virtual figures.
Fischer's work is a distortion of reality that openly admits to being influenced by the Dada, Surrealism, and Pop Art movements. These movements resemble manipulating pre-made images to create surprising and inventive combinations, scale shifts, and occasionally strong collisions of visual information. On average, work such as his computer sculpture NFT series, "Chaos," sells for approximately $100,000. A 3D model fusing an ice cube tray with a frozen steak sold for nearly $70,000. Do commercial considerations and trends make this art valuable beyond the original art?
—Yao Zhuo
This review of Urs Fischer and his work Chaos#051 is important in its provision of information and context for the ideas of the artist. It was the concepts explored that most peaked my own interest. Fischer contributes to the DaDa, Surrealism, Pop Art, and NFT movements. It made me wonder about how to promote the popularity of NFTs when they are an inherent catalyst for climate change and how the artist world takes this into consideration when producing work that benefits from consistent output and object-based production. With some further research on the artist, it was interesting to see the wax figurines and consider that as an opportunity for regeneration and prevention of over-production.
ReplyDeleteI appreciate the inclusion of the quote from the artist at the beginning, but I am unsure how it relates to the piece you are describing in your review. As for the piece itself, I have to wonder where Fischer got all of these 3D models from and if he modeled any of them himself. If he isn't the one who modeled these objects, then I'm curious who the original modeler is. How you think the original creator (or creators plural) of these models would react to find out that this piece has sold for so much money? Even if these models were available for free, I think such a piece begs the question of who gets to extract value from digital artwork and the ethics involved in such a process.
ReplyDeleteI think this review is an interesting perspective and nice to hear. I think that the idea of NFT artwork can be very polarizing with some artists in full support while others rebel against the idea. This show was my first experience with art like that and I felt as though there was there a whole sector of art that I hadn't been exposed to yet. While I cant say this gave me a new perspective on NFT art, I think it was very illuminating and opened my eyes a bit as to the art implications of new digital tokens such as NFTs
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