#MOCA MUSEUM GRAND AVE FREE#

Fischer leads the viewer through the carefully orchestrated exhibition, from one spatial experience or visual scenography to another, bringing together the apparently disparate parts of the tale to create a landscape of fragmented figures, ruins, and fracture combined with the destabilizing perfection of an immaculate mirror reflection. Everyday furniture and objects have experienced a material transformation as stiff structures droop and collapse and others magically appear suspended in space.Ĭontaining these enigmatic encounters is a gallery space that seems to have been prepared by a clumsy giant the walls roughly cut with holes large enough to drive a bus through and a messily painted floor that seems to have been treated like an enormous canvas. Among the subjects addressed are his sly and humorous approach to the human figure as represented by a group of skeleton sculptures, partial figures seated on top of furniture, and the head shots of 1950s film stars similarly obscured and defaced. In the artist’s imagination anything is possible, including the dramatic escalation in scale of a fist-size clay sculpture to a towering monolith of more than forty-five feet apparently produced by the hands of a giant.Īt MOCA Grand Avenue, Fischer presents a survey of works from the last two decades.

But this adult and consumer-conscious world abuts a (not unrelated) fairy-tale landscape populated with houses made of bread, giant falling raindrops, collapsing beds, and melting objects. Fischer’s work is characterized by a morbid glamour-sexuality, the macabre, and the disturbing effects of fracture and collage all make frequent appearances in his oeuvre and echo our contemporary environment of constructed images. The artist delights in the possibilities of surface, but even works that suggest his handmade touch turn out to have been produced through a range of digital processes in order to create the oddly surreal appearance of reality gone wrong.Ī twisted take on the real, Fischer’ work unabashedly declares its affiliation to such art historical movements as Pop, Surrealism, and Dada, all of which similarly toyed with the found image to create new and unanticipated combinations, shifts of scale, and a sometimes violent collision of visual information. Sculptures are created through an elaborate aluminum casting process, roughly hewn in wood, or cast in wax only to melt away during the run of the exhibition. Fischer’s work is characterized by an unending diversity of materials, strategies, concepts, and images. Fischer’s world is fluctuating and unpredictable, and the pleasure that we derive from his sculpture and painting is based on our attraction to and simultaneous repulsion by the dreamlike appearances that he constructs. Located adjacent to the entrance of MOCA Grand Avenue, Lemonade at MOCA is the fast-casual restaurant serving seasonal food and refreshments.Spread across MOCA Grand Avenue and The Geffen Contemporary at MOCA, the first survey in the United States of the Swiss-born artist Urs Fischer weaves together some of his most memorable and iconic sculptural works while creating an unexpected landscape in both venues. General Information: 213/626-6222 or email Lemonade at MOCA Please note that MOCA is unable to validate parking for any downtown lot. Metered Street Parking is available on Grand Ave.Entrances are marked 1 CAL and 2 CAL either entrance can be used. Visitors can enter California Plaza from Olive Street or Lower Grand, between Kosciuszko Way and 4th Street, near the Omni Hotel. $15 flat rate for weekdays from 5pm to 5am and all day on weekends and holidays. Parking rates at Cal Plaza are $4.40 for every 10 minutes, $44 maximum (until 5am). Use the Metro Trip Planner to plan your visit. MOCA Grand Avenue is accessible via public transportation.

#MOCA MUSEUM GRAND AVE FREE#

General admission to MOCA is free courtesy of Carolyn Clark Powers.

All visitors must reserve in advance a timed-entry online ticket.

Moca museum grand ave