Artist: Urs Fischer
(Photographed by Robin Harper, with hair by Kim Kimble and makeup by Sir John)
GARAGE Magazine reveals today the story inside the issue, which can now be activated with the GARAGE Mag App by scanning Page 70 in the magazine or by scanning the garagemag.com’s screen, here. This interactive feature includes exclusive words and images from Beyoncé herself.
Last week we released the stellar cover collaboration between global superstar Beyoncé and internationally renowned artist, Urs Fischer. This special-edition cover for Nº10 features an exclusive new portrait of Beyoncé, transformed into a collage of paint and photography by the celebrated artist.
GARAGE Nº10 is now available to pre-order at shop.garagemag.com and will be available from a selection of exclusive stockists worldwide from MARCH 14th!
PEELING BACK THE LAYERS…
For those unbeknown to Urs Fischer and his artistic breadth, Team GARAGE recalls Issue Nº4’s interview with the artist (which you can read in full, here). Both collaborators are markedly distinguished in their relative practices, but themes stated in GARAGE’s conversation with Fischer has potential parallels with Issue Nº10’s cover star, Beyoncé.
Talking to Neville Wakefield in GARAGE Nº4, Urs Fischer muses on the omnipresent significance of order, communicative transcendence in relation to art, and an artist’s sovereignty over decision-making. “You have to rely on yourself as the one and only judge,” Fischer explained to Wakefield, “Did you make the right decision? […] You are the only lawmaker there. You’re more than the judge and the jury; you’re the parliament and the judicial branch. You’re the separation of powers, and you’re one power.” There’s an element of congruence in what Fischer said and in Beyoncé’s unmethodical methodology: she is “the lawmaker” within her career – every twist, turn, propounder and execution is at the behest of Bey.
Wakefield moved on to art’s adjudication: is Fischer concerned whether his art is good or bad? “Good and bad are the wrong words. What I care about is does it work, does it transport, does it communicate? What does it do?” Fischer pondered. “The power of art lies in its ability to communicate somewhere other than in the things you can explain verbally. The frustration for me now is that art seems to not do much compared to popular culture and all these other things.” February saw the release of Formation, a celebratory assertion of the singer’s African heritage and simultaneous protest against police brutality towards African-Americans. Some conservative critics cried folly, accusing her of politicizing her art; they are demonstrably wrong. Beyoncé’s recent track is akin to what Fischer says: what the musician did with Formation was to spark discourse, to transcend the flaccidity of direct, verbal justifications and “communicate somewhere other than in the things you can explain verbally,” stepping away from pop-culture’s vacuous existence.
GARAGE Nº10’s collaborative project is celebratory and pronounced, a manifestation of familiar artistic outlooks that’s boldly realized.