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On show two wax statues and a 12-meter colossus

"In Florence" the contemporary art project conceived by Fabrizio Moretti and Sergio Risaliti returns in 2017, the previous edition (in 2015) brought the artist Jeff Koons to the Tuscan capital.
This year, in the presence of the International Antiques Biennial, now in its 30th edition, the protagonist of In Florence is the Swiss Urs Fischer , one of the great artists of the world scene.
In Piazza della Signoria will rise Big Clay # 4 , a large sculpture - about 12 meters - in metal, whose shapes have at the same time something primordial and childlike, totemic and architectural.
On the Arengario of Palazzo Vecchio between the reproduction of David or that of Judith and Holofernes, in continuity with the exhibitions of Jeff Koons (2015) and Jan Fabre (2016), two human figures will be positioned , transformed into candles , which will be slowly consumed during the duration of the exhibition, as symbols of human finitude and the durability of art. The two figures are those of Francesco Bonami and Fabrizio Moretti. The two figures will remain on display for about a month, until complete dissolution.

The Artist
Urs Fischer reached the general public in 2011 on the occasion of the 50th Venice Biennale, when he did dissolve a wax and real-size copy of the Ratto della Sabina by Giambologna , one of the great masterpieces of Renaissance statuary present from 1583 under the Loggia dei Lanzi.
A visual duel that will oppose neo-classicism and shapeless, ancient and modern, between the "timeless" images of Bandinelli, Cellini and Giambologna and the "formless" by Urs Fischer, who for years has been exploring issues such as imperfection and entropy, the relationship between opera and space, between art and the world of cinema, between everyday life and artistic imagery.
" Urs Fischer is one of the most influential artists of his generation - writes the curator of the exhibition Francesco Bonami - his production ranges from sculpture to painting, from design to publishing: an artist at 360 degrees and" Renaissance "in a completely new sense: his work, while following the classical paths of modernity such as abstraction and figuration, is constantly experimenting with new materials and technologies, a research that is not addressed for the simple pleasure of provocation but as an instrument to tell new stories In all of Fischer's work, it is not the material elements that are protagonists, albeit essential, but the contents and messages that communicate directly to the viewer.