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Ephemeral Bodies: The ‘Candles’ of Urs Fischer
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At the 54th Venice Biennale, Urs Fischer presented the most monumental
of his ‘candles’: a 1:1 scale replica of Giambologna’s The Rape of the Sabine
Women. Together with two other wax sculptures—a copy of his favourite
studio chair (a self-portrait) and the life-size statue of Rudolf Stingel (an
alter ego)—it formed quite an eclectic sculptural group. But this ‘untitled’
installation was far from being an exercise in monumentality. At the
Biennale opening, the sculptures were lit through candle wicks hidden
in their bodies and started to melt. Though copies replaced the ‘originals’,
Untitled resulted in a mass of ruins. More than a memento mori, it showed
the passage of time focusing on the afterlife of images.
Amsterdam University Press
Title: Ephemeral Bodies: The ‘Candles’ of Urs Fischer
Description:
At the 54th Venice Biennale, Urs Fischer presented the most monumental
of his ‘candles’: a 1:1 scale replica of Giambologna’s The Rape of the Sabine
Women.
Together with two other wax sculptures—a copy of his favourite
studio chair (a self-portrait) and the life-size statue of Rudolf Stingel (an
alter ego)—it formed quite an eclectic sculptural group.
But this ‘untitled’
installation was far from being an exercise in monumentality.
At the
Biennale opening, the sculptures were lit through candle wicks hidden
in their bodies and started to melt.
Though copies replaced the ‘originals’,
Untitled resulted in a mass of ruins.
More than a memento mori, it showed
the passage of time focusing on the afterlife of images.
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