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拍賣 2022年6月29日英國夏令時間下午1:00
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倫敦伯克利廣場30號 W1J 6EX（地圖）
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預展 6月22日至29日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
\n

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富藝斯將在今年春季於日內瓦、紐約、南安普敦和蘇黎世，展示倫敦二十世紀及當代藝術夜拍及日拍的精品。
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\n南安普敦
\n5月26日至30日
\n開放時間：上午11:00-下午6:00
\nsouthampton@phillips.com
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\n蘇黎世
\n6月10日至12日
\n開放時間：上午10:00-下午6:00
\npkurath@phillips.com
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\n倫敦
\n6月22日至30日
\n開放時間：
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
\nClientServicesLondon@phillips.com

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Simon Tovey

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二十世紀及當代藝術副總監、日間拍賣主管暨專家
\n+44 20 7318 4084

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stovey@phillips.com

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Urs Fischer, Iron, 2015. 20th Century & Contemporary Art London.

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Tackling themes of perception and representation with characteristically sardonic wit, Urs Fischer’s 2015 painting Iron is an example of the artist’s use of distortion to subvert established modes of self-portraiture in art history. The monumental work takes Fischer’s own face as a starting point, as passages of rippling fleshy pinks, sky blues, and stormy grays chase each other across the surface. Fischer harnesses the techniques enabled by his multidisciplinary practice in photography and silkscreen to both represent and obscure his own likeness.

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Fischer’s self-portrait is made defiantly permanent by pushing the notional subject to its limit. The artist asserts a physical presence and place in art history through its huge scale and hefty aluminium support. Fischer is known for merging boundaries; the substantialness of the support allows the painting to move between the realms into sculpture. “The way I see it,” he notes, “my paintings are more like sculptures. I see them as objects on the wall that have a particular surface. The paint applied is just one possible layer.” Working on top of an enlarged photograph rotated 90 degrees, the artist’s fragmented face is barely permissible through the layers of silkscreen, ink, acrylic paint, gesso, and primer that encircle elements of his face, such as the eye, eyebrow and nose.

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Iron belongs to a small series of works from 2015 in which Fischer expands a syncretic approach to traditional forms with mutative characteristics. In these works, Fischer draws on his early studies of photography as a young artist at Schule für Gestaltung in Zürich. Rather than limiting his scope to straightforward engagement or critique, however, Fischer instead uses a swarm of materials and modes to create an assemblage that brings dark humor to a deliberately uncanny malformation of the human face. A self-proclaimed student of art history, Fischer references the collage techniques of Pablo Picasso and George Braque, as well as Surrealist master René Magritte’s practice of covering his subjects’ faces with everyday objects, thus concealing their identity.

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Urs Fischer, Magnesium, 2015. Sold for $693,000 at Phillips' 20th Century & Contemporary Art New York Day Sale on 19 May 2022.

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Fischer’s use of material presence and immaterial concepts is further given dimension by its conversational quality, a practice he shares with friend and fellow installation artist Rudolf Stingel. By engaging the viewer to question their perception of a work, a dialogue forms between not only the viewer and the artist, but also with the work itself as an intermediary. How one takes in Iron is less about its abstraction and more to do with how absorbing its ambiguity can lead to different outcomes, which, in turn, shows Fischer’s influence from earlier Dada and Situationist movements. His relationship with Stingel is also evident in the use of gray as a utilitarian jumping-off point from which color springs to life, even in its most diffuse forms.

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Fischer has built his celebrated reputation on his longstanding investigational approach, exploring opportunities to contrast opposite phenomena through an array of media, from sculpture and installation, to drawing, painting, photography, printmaking, and digital montage.The details of materials used in his work are scrupulously documented and scientifically noted in the artist’s own cataloguing. Evidenced in Iron, Fischer creates what appears to be an enormous abstraction, but is in fact a self-portrait; heavily impasto in appearance, it is in reality almost flat; the density of the pigment is countered by the delicate patterning of the silkscreen technique.

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The subject of the human figure and self-portraiture placed alongside the notions of time and decay have been consistent sources of inspiration for Fischer. The theme has been at the core of his figurative wax works since 2001, and the artist often augments his forms through melting, fragmentation, decapitation, and penetration. As the melting candle distorts and dissolves the likeness of the wax sculptures over time, here Fischer uses brushstrokes to distort a previously recognizable image of his own face.

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Urs Fischer is currently the subject of his celebrated solo exhibition Urs Fischer: Lovers at Museo Jumex, Mexico City, through 18 September 2022.

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Discover More from 20th Century & Contemporary Art >

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Recommended Reading

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A New Generation of British Women Artists >

\n\n

Ex Machina: A History of Generative Art >

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There is very minor rubbing with occasional minor paint cracking to the corners and edges in places, only visible on very close inspection. When examined under Ultra Violet light there are two minor points of inpainting to the lower right vertical edge (approx. 0.3 and 0.1 cm in length). Otherwise, there are no apparent condition issues with this work.",{"_166":72,"_167":168},"additionalImagePaths",{"_485":124,"_486":487,"_488":489,"_16":490,"_491":492},"isActive","componentType","RichText","componentId",9586,"DETAIL-HEADER-DISABLED 50470","componentItems",[493],{"_485":124,"_494":495,"_496":497,"_498":-7},"componentItemId",12908,"htmlCaption","

Central to Salman Toor’s astronomic rise to prominence and established reputation, lies his ability to create innate intimacy, beauty, and space for personal reflection. Toor manages to create a sense of familiarity in his painterly created places. Growing up in Lahore, Pakistan as a gay man, the artist now lives in New York, where he has found solace in safe locations, built with trusted friends living in the diaspora.

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Painted in 2017, Cloudy Day is an exceptional example of Salman Toor’s amalgamation of his studies of the Old Masters with his life in New York. The work is built from an essential push and pull between the old and established and the contemporary and modern everyday. In 2006, Toor moved from Lahore to Ohio to study painting at the Ohio Wesleyan University. It was here that he learnt about oil painting for the first time and his fascination with the Old Master’s took hold: ‘I learnt by taking art history classes and I became obsessed with traditional European painting of the 18th Century, Baroque and Early Renaissance: I wanted to go through all of those stages myself. There were a lot of uncomfortable questions that came up later as to why I was not doing something traditional from my culture, but that didn’t stop me. I feel like it is a great love of the stories that can be told through oil painting that bring people together, and the sight of so many paintings telling simultaneously the stories of a culture and I wanted to recreate something like that around my own story and similar stories.’ⁱ

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\nThe narratives told in Toor’s works are fictional. In Cloudy Day, Toor depicts an everyday scene, pulling together stylistic references to the Old Masters, whilst also addressing those figures, settings and subjects that are missing from the art historical canon. ‘I like the idea of a direct narrative and I work differently from those [Old Master] artists in that all these narratives are imaginary - their gift to me, from learning from copying the Masters for such a long time, helped me to recreate an imagination that was very vivid.’ⁱⁱ In the present example, Toor renders his scene in the deep jewel colour palette associated with artists from the 17th Century. The rich golds and warm reds seemingly glimmer with a soft warmth, exquisitely offset by the natural light that pours in from the windows. A beautifully depicted still-life of a rose is set in the foreground; a meticulously observed glass sits on the edge of the table; and the carefully handled painting and serene quality of the man’s face harks to the work of Michelangelo. In the background we see figures perhaps drawn from Toor’s Pakistani routes: the group of three men standing under the trees outside are dressed in traditional Pakistani clothing.

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\"\" — Detail of Michelangelo, *The Last Judgement*, fresco. Image: Scala, Florence

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In contrast to the historic style, Toor’s narrative is placed in the 21st Century. The figures in the foreground wear western contemporary clothing; the male figure contemplating, mid-thought, holds a mobile phone. Smartphones and laptops are as ubiquitous in Toor’s paintings as they are in real life, alongside Toor’s instinctive references to art history.

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Through his deft handling of oil paint, Toor melds everyday contemporary life with art history in his figurative works that tell a modern narrative. Softly highlighting questions around alternative narratives left out of history and art, Toor explores representations of sexuality and friendship.

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Living Histories: In Conversation with Salman Toor

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ⁱ Salman Toor, quoted in ‘TalkArt’, podcast, 13 November 2020
\nⁱⁱ Salman Toor, quoted in ‘TalkArt’, podcast, 13 November 2020

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Salman Toor

《陰天》

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Salman Toor