1,721,321 research outputs found
Ephemeral Bodies: The ‘Candles’ of Urs Fischer
No full textAt the 54th Venice Biennale Urs Fischer presented the most monumental of his ‘candles’: a 1:1 scale replica of Giambologna’s "The Rape of the Sabine Women". Together with other two wax sculptures – a copy of his studio chair (a self-portrait) and the life-size statue of Rudolf Stingel (an alter ego) – it formed a quite eclectic sculptural group. But this ‘untitled’ installation was far from being an exercise in monumentality. At the Biennale opening the sculptures were lit through candle wicks hidden in their bodies and started to melt. Though copies replaced the ‘originals’, "Untitled" resulted in a mass of ruins. More than a memento mori, it showed the passage of time focusing on the afterlife of images
Supplementary Data and Tables -Supplemental material for A survey of opinion: When to start oral anticoagulants in patients with acute ischaemic stroke and atrial fibrillation?
No full textSupplemental material, Supplementary Data and Tables for A survey of opinion: When to start oral anticoagulants in patients with acute ischaemic stroke and atrial fibrillation? by David Munn, Azmil H Abdul-Rahim, Urs Fischer, David J Werring, Thompson G Robinson and Jesse Dawson in European Stroke Journal</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Melancholy of Misunderstanding: An analysis of Marcel Duchamp’s Effects on the Development of Art in Conversation with Contemporary Artist Urs Fischer
No full textUrs Fischer, a contemporary artist, started his career in Zurich, Switzerland where he was born to two doctors on May 2nd of 1973. He formally studied photography at the Schule für Gestaltung in Basel, Switzerland. During his time at university, he worked as a bouncer at nightclubs to support himself, before moving to Amsterdam at the young age of nineteen. Only three years later in 1996, he had his first solo gallery show at Galerie Walcheturm in Zurich. Having lived in London, Los Angeles, and Berlin, Fischer settled down in New York City where he now lives and works, and at one time shared a studio with his dear friend and fellow artist Rudolf Stingel. Through large-scale installations, he deploys conceptual illusions and alike in contrast with found objects or that which is often familiar to the viewer in order to explore themes of the ephemeral, human perception, and beyond
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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