Art

Window Shopping at “Oren Fischer’s Grocery”

by Ross Belfer | 03.02.16

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I first met artist Oren Fischer in Spring 2014 in a roundabout location that I do not recall, the overarching theme used to encapsulate the LA-born, TLV-bred sculpturist, street artist, social commentator and gallerist. Fischer is a man of many hats: on one hand, his sociopolitco commentary guised as comical, black and white figures and cynical text flag the buildings, street signs and empty canvases of south Tel Aviv, considered by many to be an ephemeral playground of the city’s street-art-elite.

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With a comical approach to the “art world,” Fischer’s works are imbedded with mockery of a neighborhood, city and state in a transient status heading in a wayward direction. Coupled with more vivid, abstract street art murals and at times, gaping, skeletal-esque sculptures, Fischer’s oeuvre is unpredictably held together by a common thread of translating intro- and outrospection into a rendition of the “south TLV style” teeming with vividness and a refusal to conform.

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On the other, Fischer is a cultural tastemaker (although he would never call himself as such), and is a co-owner/founder of Meshuna Gallery, a cultish gallery-meets-workspace on Herzl Street where he has hosted and curated nearly 40 solo and group shows over the past two years. This time around, Fischer comes forth with a solo show of his own that brings the observer into an off-kilter world of mixed media works, entitled “Oren’s Grocery Shop” (the images featured in this post as taken in Fischer’s studio a week prior to the opening).

The “shop” itself is housed in Meshuna’s street side gallery and features an array of works reminiscent of Claes Oldenburg and Keith Harring, including titles such as “Tears on a Pillow,” “A peace of the bench where we first met,” and “A Selfie Alone in the Sunset Kit,” all of which embody Fischer’s response to familiar social stereotypes.

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Sketches, drawings, wall paintings and readymade materials altered with drawings and hardware materials (nails, pins, screws) intermixed with furniture pieces, a “cash machine” and other oddities result in a show of 150 items referring to the “information overload” convoluting consumer society in many streams of consciousness.

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The show, which opened on January 21, is running through February 28 at Meshuna Gallery at 112 Herzl Street, and will close with a special performance by Reiskinder and Hila Ruach. Visit www.facebook.com/meshuna/ for further updates.

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