At a time when nations are figuratively - and literally - closing their borders from the imagined spectre of the other, it was somewhat refreshing to see how an elitist art world space could fling open its doors, allowing the masses to infiltrate its hallowed halls for an interactive happening in the center of London.
Staged recently at Sadie Coles' gallery in Mayfair, Urs Fischer's plasticine appropriation of Rodin's The Kiss allowed for an almost unrestricted, intimate play between the viewer and the work. Bits of the original sculpture were modeled into cheeky missives, iconography, emoticons, words of wisdom, and anything else viewers felt an urge to add to the gallery walls surrounding the lovers who themselves were the recipients of a major, public art work-over.
The 'arms open' approach was a lovely grand gesture, but more intriguing to consider was Fischer's visual suggestion that, perhaps, the things we all romanticize - intimate moments, ideologies, spaces, places, states-of-being and the like - ought not to be so precious that they hold a seductive, dangerous power over us. Chilling to consider in light of the global tenor of our times.
Hoping for more galleries to present such works that can challenge, apart from merely entertaining, the viewer.
See more from The Kiss, below.
Words & Images | Lisa-Marie Harris
Urs Fischer: 'The Kiss'
Feb 1st – Mar 11th, 2017
Sadie Coles, London