What's On

Though they share an openness and an ability to assimilate a wide range of culture, Fischer and Adler could hardly be more different in approach. American Amy Adler sticks to a precise methodology revolving around issues of self representation. Taking photos of herself, or in the case teen pin ups like Mel C, Britney and Buffy, she draws over them with thickly worked pastels. The solid looking drawings that result are then photographed before being torn up, leaving just  large scale prints that have an iconic aura derived from their subject and history. But it’s really just the scale and glossy finish of the immaculate prints that does all the work. The intermediate drawings aren't that far removed from the obsessive handwork of real teenagers, a source that Adler readily acknowledges. Swiss sculptor Urs Fischer,  in contrast, is the epitome of throw-everything-at-the-wall-and-see-what-sticks art making. Dozens of throwaway drawings are displayed in framed screwed to a massive tree knocked together from bits of 4 by 2. Rather than focus on any one picture you have to marvel at the chaotic energy that brought these works into existence. His sculptures are just a way of sharing the great pleasure he takes in everything. The way fruit rots, a thick layer of dust, the comical look of a carve skeleton. It’s all more grist to the mill. Lifesize model cats are a recurring motif because of their indiscriminate tendency to climb on things. They must be stand ins for Fischer, jumping up onto the great squishy sofa of contemporary culture.