Although the name of Urs Fischer is often associated with a cut through the museum walls and gaping floors, this time he and curator Caroline Bourgeois (Caroline Bourgeois) have created a thoughtful exposition, which refuses to entertainment and hype in favor of analysis and groping thin associative links. This, according to Bourgeois, "review" of creativity Fisher, made in an attempt to identify the most important recurring theme of his work (clouds, chairs, tools, body parts) as well as methods and techniques of his work (assemblage and suspension).

«Madame Fischer" - work that gave name to the whole show - is an exact reproduction of the studio young Urs Fischer in London. In a long hall next to the atrium there is another work of the sculptor, with a frightening and mysterious name "Nekrofoniya", reproducing the studio of the sculptor in general - in its classic form, with bronze figures on high pedestals, other creative things orderly environment and, importantly, with this naked model. There is here, of course, far more sinister works: birds figure, suspended by the neck to the ceiling with a heavy stone to the load, under the title «abC», as well as a series of photos 2011 - portraits, decorated with strange detail - legs increased self-tapping screws. In general, paradoxical, inexplicable and disturbing works here, as always, Fisher, abound.

Simultaneously with the exhibition in Venice exhibition Fischer smaller open until May 28 at the Vienna Kunsthalle museum. Sam Fisher is extremely pleased to the fact that neither of the two exposures is not a retrospective, both of them, he said, but rather to reproduce the "possible scenarios" of how it works. He was curator of the right to confirm this idea and stressed that the central theme of exhibitions and works of Fisher as a whole - the study of the creative process or the motives for it (which is why the title of the exhibition was the title of the Venetian studios Fisher), and also, apparently, and then destruction created. In such a thought brings a couple of wax sculptures at the Palazzo Grassi, representing Fisher and his friend, the painter Rudolf Shtingelya (Rudolf Stingel). Both figures - nothing like a huge candle that will burn until the exhibition will be open, and will burn down, apparently, exactly to its completion - whether as a demonstrative proof of the postulate of the "death of the author," or that, generally quite close, as evidence of the enormous self-irony of Fisher.

Prepared by Mary Estrova, AI