Initially, it was to concern a few silk squares, those bourgeois accessories that Louis Vuitton likes from time to time to have redesigned by prominent artists – as, in 2019, by the American Jonas Wood. This time, by asking Urs Fischer, Swiss plastic artist and darling of the art market, the French house has revised its ambitions upwards. “We started with the scarves and other narratives were added, it got bigger, bigger… I was then asked if I wanted to develop bags, ready-to-wear and, from there, the collection took off “, traces Fischer.
Collectors, critics and gallery owners, familiar with his protean work which explores imperfection, consumption, putrescible, will raise an eyebrow. Why this facetious forty-something, who made a name for himself with a house made out of loaves of bread or with its giant candles which reproduce Leonardo DiCaprio at life size or The Rape of the Sabine Women of Jean de Bologne and end in puddles of wax, does he ally himself with Louis Vuitton, whose luxury consists in striving for perfection? “Fashion is much less exclusive than art, and the attraction for me is that I want art everywhere, retorts the person concerned. Not just in the gallery. But in the street. In nature. ”
Finally, his collaboration with Louis Vuitton is broader than that signed in 2017 by Jeff Koons, the father of sculptures. Balloon, that he has always admired. In addition to seven bags, Fischer sets to work on clothes and sneakers, but also on showcases all over the world, photos and appetizers for social networks, populated by small cartoon characters. – cat, bird, orange, banana, lawyer… – pop enough to speak to a global audience.
“I chose quite spontaneously to redraw the monogram by hand, like a sketch that we would do from memory. »Urs Fischer
It is in his reinterpretation of the famous Monogram that we find the signature of Urs Fischer most distinctly. “As a child, I saw people everywhere carrying bags with this monogram. That everyone wants a bag with these same scriptures, I found it strange, remembers the one who grew up in Zurich. I chose quite spontaneously to redraw it by hand, like a sketch that we would do from memory. It’s a bit like asking several people to reproduce the map of the world in their heads and look at the result: on one, Europe looks bigger; another forgot to draw India… The idea that memory distorts things in this way fascinates me. ”
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