The Swiss artist Urs Fischer has returned to The Brant Foundation Art Study Center, which first presented a solo show of his work in 2010, with ERROR, a surreal landscape of sculptures, paintings, and a full-scale cabin—partially made of slowly molding bread.
Bread House had originally been staged in 2004 and has been reconstructed this time with (thankfully) new bread, which will again decay and rot and stink. The life-size alpine cabin is lined with rugs and is held together with the help of expanding foam and wood. (In some past iterations the house has been populated by young parakeets, which feed off the bread.)
Other fairy-tale-esque domestic fixtures are also on display, though not within the walls of the yeasty home, including bed sculptures, like Kratz (2011), a bed collapsing under the weight of a pile of concrete, and Untitled (2011), a bed seemingly collapsing under the ghostly weight of nothing. Stranger still perhaps, there is Horse/Bed (2013), a deconstructed hospital bed merged with an aluminum horse, like some sort of sick harness. To create this eerie form, Fischer blended 3-D scans of a taxidermied workhorse and a hospital bed. There is, of course, seating too, like You Can Not Win (2003), a falling over plain plaster chair that’s been impaled by an over-four-foot-tall white BIC lighter. That might be comical, but more jarring is a fountain-cum-chair draped with a skeleton, pietà-style, called Invisible Mother (2015).
All of these works—along with other sculptures, paintings, and mixed media objects—create a dreamlike (or nightmare-like, depending on your disposition) environment that overwhelms and confuses to giddying effect.
URS FISCHER: ERROR
The Brant Art Foundation Study Center
Through October 14