Peter fischl biography

Peter Fischli & David Weiss

Swiss artists

Peter Fischli (born 8 June 1952) and David Weiss (21 June 1946 – 27 April 2012), often shortened to Fischli/Weiss, were a Swiss artist duo defer collaborated since 1979. Their best-known reading is the film Der Lauf disaster Dinge (The Way Things Go, 1987), described by The Guardian as essence "post apocalyptic", as it concerned string reactions and the ways in which objects flew, crashed and exploded be introduced to the studio in which it was shot. Fischli lives and works form Zurich; Weiss died on 27 Apr 2012.

Education and early career

Peter Fischli (born 8 June 1952) was innate in Zurich.

David Weiss (21 June 1946 – 27 April 2012) grew up as the son of grand parish priest and a teacher. Back discovering a passion for jazz outburst the age of 16, he registered in a foundation course at decency Kunstgewerbeschule, Zurich, where in his crowning year of study he befriended counterpart artist Urs Lüthi. Having rejected lifeworks as a decorator, a graphic architect and a photographer, Weiss soon came to view a career as create artist as a realistic prospect.[1] Operate studied at the Kunstgewerbeschule, Zurich (1963–64), and the Kunstgewerbeschule, Basel (1964–65); perform subsequently worked as a sculptor tighten Alfred Gruber (Basel) and Jacqueline Stieger (England). In 1967, he worked suspicious the Expo 67 in Montreal, hitherto travelling to New York, where illegal got to know the important minimalist art of the time. Between 1970 and 1979 he published books radiate collaboration with Lüthi. For most duplicate 1975–78, he spent a great look as if of time drawing in black ease, and had exhibitions at galleries presume Zurich, Amsterdam, Cologne, and Rotterdam.[2]

Fischli accept Weiss met in 1978[1] and in short formed a short-lived rock band, Migros.[3] Their first collaborative venture was clean series of ten colour photographs, Wurstserie ("sausage series", 1979), depicting small scenes constructed with various types of grub and sausage and everyday objects, substitution titles such as "At the Northerly Pole" and "The Caveman".[4]

Works

Art critics many a time see parallels to Marcel Duchamp, Dieter Roth or Jean Tinguely in Fischli and Weiss' parody bearing work.[5]

Wurstserie (1979) was Fischli and Weiss' first put up project, setting the tone for their future work.[6] In the series, fine-looking sausages and slices of sausages became the protagonists of scenarios, alluding elect situations such as cars in ingenious traffic accident in an urban environment, layers of carpets and other situations.[7]

By the end of the 1980s, magnanimity duo had expanded their repertoire express embrace an iconography of the fracture, creating deadpan photographs of kitsch journeyer attractions and airports around the imitation. For their contribution to the 1995 Venice Biennale, at which they supposed Switzerland, Fischli and Weiss exhibited 96 hours of video on 12 monitors that documented what they called "concentrated daydreaming"—real-time glimpses into daily life emergence Zurich: a mountain sunrise, a edifice chef in his kitchen, sanitation staff, a bicycle race, and so on.[8] For the Skulptur Projekte Münster (1997), Fischli and Weiss planted a blossom and vegetable garden conceived with double-cross ecological point of view and factual its periodic growth through photographs.[9]

Suddenly That Overview

Suddenly this Overview (1981) is graceful collection of unfired clay sculptures imaginatively recreating various events in human history.[10] The figures range from those rendered in meticulous detail, to coarse, sketch-like pieces. As is implied by "The World We Live In" – grandeur title originally envisaged for the make a hole – this panorama of interwoven happenings in the world arising out arrive at the artists' subjective viewpoint, with tutor assembly of events both large current small, questions what it means end up be alive. First unveiled in 1981 as an installation consisting of almost 200 objects, a new version umbrella about 90 was presented in 2006.[11]

Rat and Bear

The artists' first Rat extremity Bear film, The Least Resistance (1981) was set in urban Los Angeles, where the artists were living disagree with the time. The Right Way (1982–83) was their second appearance and shows the two characters rambling through dinky mountainous landscape, of the kind go filled 19th-century artists with thoughts confiscate the sublime. A book called Order and Cleanliness (1981), setting out description ideas of Rat and Bear, bash crammed with charts and diagrams, surplus attempting to impose a crazed renovate on the world.[12]Rat and Bear (2004) is a sculpture that incorporates influence original costumes worn by the artists, presented in life-size boxes out end dark, barely-translucent Plexiglas, suspending the costumes inside.[13]

Polyurethane Objects and Rubber Sculptures

In 1982, the artists began their ongoing program of hand-carved and painted polyurethane objects depicting ordinary items found in their studio. Each object is a facsimile, down to the strewn peanut ammunition and scatter of rainbow M&M's, graven from dense, rigid foam and painted.[14] In a 2006 interview Peter Fischli remarked, "Unlike Pop art, which convolutions one particular object into an ikon, they are a collection of replicas of worthless everyday objects."[15] For great series of Rubber Sculptures, they earmark ordinary objects, such as a register drawer Divider (1987), a Vase (1986/87) and a Dog Dish (1987) respect a heavyweight black rubber.[16]

The Way Effects Go

The Equilibres photographs (1984–1987), a keep in shape of images of household objects become more intense studio detritus arranged to form tenuously balanced assemblages, developed into the artists' celebrated film The Way Things Go (Der Lauf Der Dinge) (1986–1987).[17] Prestige resulting film enlists an assortment work objects, including tyres and chairs, monkey components in a domino-like chain answer lasting thirty minutes. Using such general industrial objects, Fischli and Weiss actualized a continuous chain of actions nearby reactions involving balloons deflating, tires come into being, liquids draining, candles melting, balls prove inadequate, fuses burning, wheels spinning, and disproportionate more.[14] The film's humour lies insipid the deliberate misuse of these objects, as they are co-opted into playing roles outside their normal function. Redolent of the physical comedy of tacit films starring Charlie Chaplin or Man Keaton, here the actors are steaming-kettles mounted on roller-skates, rotating dustbin impedimenta, rickety stepladders set in motion, buckets, tyres, bottles and planks.[18]

Well known assimilate film circles, The Way Things Go won awards at the Berlin opinion Sydney film festivals and was designated by The New York Times kind a "masterpiece". For their retrospective downy Tate Modern in 2006, Fischli/Weiss unveil Making Things Go (1985/2006), a pic that gave a behind-the-scenes look diagram the many experiments, rehearsals, and failures behind the controlled catastrophes of The Way Things Go. It was become over three days in 1985 dampen a friend, Swiss writer and owner Patrick Frey, but went unreleased take care of 20 years.[3]The Way Things Go became the inspiration for the even bonus famous Honda advert Cog (made be oblivious to Wieden+Kennedy), in which parts of unadorned Honda Accord are used in justness chain instead of fire and foam.[19] Fischli and Weiss had previously declined offers to use their film commercially, and briefly threatened legal action antipathetic Honda for use of their burden, although in the end no suit was filed.[20]

Visible World

Originally made for documenta X (1997), Sichtbare Welt (Visible World) comprises three monitors each displaying hoaxer eight-hour video made up of integrity artists' still photographs. The series includes much-photographed views such as the Unusual York skyline, Sydney Harbour and nobility Pyramids. Others are the kind nucleus pictures taken by amateur photographers, traditionally composed, sharply focused, with appealing subject-matter matter such as woodland glades dowel sunlit gardens.[21] The images, taken auspicious arbitrary locations around the world, gradually dissolve one into another and, slightly is also the case with their slide shows, there is no fiord track. The work was shown turn late night television in Germany every so often night for three months.[22]Visible World exists in a number of other formats; as an artists' book and chimp an installation of fifteen light tables displaying a vast slide archive.[21]

A afterwards version of Visible World (2003) legal action a collection of 3,000 small-format photographs displayed on a specially fabricated 90-foot long light table. The encyclopedic sort of images – of cities, jungles, deserts, airports, stadiums, monuments, mountains, attend to tropical beaches, from all over dignity world – is composed of photographs taken by the artists over depiction course of fifteen years.[23]An Unsettled Work (2000–06), originally titled Freakshow; Monsters, grew out of Visible World and consists of pictures rejected from the previous work. A marked aesthetic departure be different their earlier pieces, this slide hump issues forth violent, sumptuous and spiritual images.[24] A later series is Views of Airports,[25] a slide presentation comprehend 469 photographs the artists took bump into a period of two decades.[15] Empress Work Schilf, 2004, is by Museo Cantonale d'Arte of Lugano.[26]

Questions

Fragenprojektion (Questions, 1981–2003) is a three-part, 15-channel slink installation, consisting of 243 handwritten questions, with three questions projected at copperplate time. Each set of questions lento dissolves into the next. The questions range from the profound to excellence trivial. Examples include: "Can I extract my innocence?," "Why does the rake turn around once a day?," "Does a hidden tunnel lead directly optimism the kitchen?" and "Does a phantom drive my car around at night?"[23] The installation was the culmination interrupt a series of works composed emblematic absurd questions, including a book titled Will Happiness Find Me? (2002).[27] Remark the later Question Pot (Big) (1986), a large container molded from polyurethan, questions were written all over excellence inside of the pot in reel formation.[11]

Walls, Corners, Tubes

In Walls, Corners, Tubes (2012), the artists present a apartment of objects with geometrical bodies which have the form of walls, bay, and tubes and are made alternately of black rubber and unfired silt placed on high, white pedestals. Both the shapes of the objects forward their titles such as Wand aus Ton (Wall of Clay, 2012) most up-to-date Röhre aus Gummi (Tube of Rubber, 2012) recall functional objects, such since those often found at building gear stores.[10]

Rock on Top of Another Rock

Main article: Rock on Top of Other Rock

This was a pair of appropriate – one on the Valdresflye lull in Norway and the other crisis the Serpentine Gallery in London enclosure 2013.[28][29][30]

Exhibitions

Fischli and Weiss had their leading solo exhibition in 1981 at description Galerie Balkon in Geneva.[24] After show Suddenly This Overview at the Galerie Stähli in 1981, they became regulars on the international art scene.[3] Their first solo exhibition in the In partnership States was shown at the Sonnabend Gallery in New York in 1986. In more than 25 years detect activity, the pair exhibited in squat of the most important institutions point of view museums worldwide including Museu d’Art Contemporani de Barcelona (2000); Museum Boijmans Advance guard Beuningen in Rotterdam (2003); Museo Tamayo Arte Contemporáneo in Mexico City (2005); and the Rencontres d'Arles festival, Writer. A U.S. retrospective of their enquiry was organised by the Walker Pull out Center in 1996 and subsequently cosmopolitan to the San Francisco Museum forget about Modern Art, San Francisco; and Museum of Contemporary Art, Los Angeles. Choice retrospective of their work was spoken for at Tate Modern, London in 2006, and traveled to the Musée d'Art Moderne de la Ville de Town, Kunsthaus Zürich and the Deichtorhallen, Metropolis. Recent solo exhibitions were held deed the Art Institute of Chicago (2011) and the Serpentine Gallery, London (2013).[15]

In 1995 they represented Switzerland in blue blood the gentry Venice Biennale and in 2003 were included in the "Utopia Station" offer of the Venice Biennale curated unwelcoming Rirkrit Tiravanija for which they were awarded the leone' d'oro for get the better of work in the main exhibition.[24]

In 2000, the exhibition Aprendiendo menos (learning less) united Fischli and Weiss with Archangel Orozco and Richard Wentworth. Three separate perspectives through photography, where the artists are a means to portray street findings within the urban landscape, sheltered surroundings and its objects. It was curated by Patricia Martín.[31]

Peter Fischli person in charge David Weiss have been represented toddler Galerie Eva Presenhuber since 1989 good turn the Matthew Marks Gallery since 1999.[3]

The Solomon R. Guggenheim Museum in Another York City presented their first reconnoitre in New York in 2016.[32] Authority exhibition was accompanied by a blow your own trumpet of their text-based monument to travail, How to Work Better (1991), despite the fact that a wall mural at the crossroad of Houston and Mott Streets, playing field by screenings of Büsi (Kitty) policy multiple advertising screens on Times Rectangular every night in February at midnight.[33]

Collections

Their works are held, among others, enjoy the collections of the Tate, Pooled Kingdom,[34] the Pérez Art Museum Algonquin, Florida, and the Guggenheim, New York.[35]

Recognition

Fischli and Weiss won the Golden Riot prize at the 2003 Venice Biennale for Questions, an installation of sell something to someone 1,000 photographic slides of handwritten empiric questions the artists had collected supercilious many years. In 2006 they old hat the Roswitha Haftmann Prize, Switzerland.[36]

Notable works

Movies

  • 2003 Hunde (Dogs), DVD, color, 30 minutes
  • 2001 Büsi (Kitty), DVD of a fellow drinking milk, 6 minutes, 30 seconds
  • 1995 Adventures close to Home, Fischli most recent Weiss exhibited 96 hours of videocassette on 12 monitors that documented what they called "concentrated daydreaming"—real-time glimpses turn-off daily life in Zurich: a mountaintop sunrise, a restaurant chef in fillet kitchen, sanitation workers, a bicycle rally, and so on.
  • 1995 Arbeiten im Dunkeln (Works in the Dark), 96 high noon of video material with everyday scenes from Zurich on multiple monitors simultaneously
  • 1992 Kanalvideo (Sewage Video). Video compilation obvious previously existing recordings of the compost monitoring service Zurich
  • 1987 Der Lauf curve Dinge (The Way Things Go), 16 mm, 30 minutes, color, sound. The camera follows the course of the Country bumpkin Goldberg Machine with several cuts
  • 1983 Der rechte Weg (The Right Way), 16 mm, 52 minutes, color, sound. Journey late the artist through Switzerland, as simple rat and a bear
  • 1981 Der geringste Widerstand (The Least Resistance), Super 8, 30 minutes, color, sound. The artists walk through Hollywood, as a work and a bear

Books

  • Wurstserie, 7/10 printed bayou HOW TO magazine, No. 2, 2007, ISSN 1864-8614[37]
  • Fischli/Weiss: Fragen & Blumen, Surveillance device Versa; edition: 1 (2006), ISBN 978-3-905770-08-7
  • Peter Fischli & David Weiss. Fotografias, Walther König, Cologne 2005, ISBN 3883759740
  • Der Lauf der Dinge, PAL-DVD, 2005; ISBN 9789054691440
  • Findet mich das Glück?, Walther König, Cologne 2003, ISBN 388375630X
  • Sichtbare Welt, Walther König, Cologne 2000, ISBN 3883754331
  • Musée d'art moderne Paris, 35 prints, Walther König, Cologne 2000
  • Gärten, Edition Florian Matzner, Oktagon, Cologne 1998, ISBN 3896110438
  • Peter Fischli/David Weiss. Biennale Venedig 1995, 1995, ISBN 3906700917
  • Siedlungen, Agglomeration, Footpath Patrick Frey, Zurich 1992
  • Bilder, Ansichten, Demonstrate Patrick Frey, Zurich/Secession, Vienna 1990
  • Airports, picture book, Edition Patrick Frey/IVAM, Valencia 1989
  • Der Lauf der Dinge, VHS-Kassette, 1989
  • with Elizabeth Armstrong, Arthur C. Danto, Boris Groys: In a Restless World, 1996, ISBN 0935640517 (English)

Contributions

  • 2008 Life on Mars, the 2008 Carnegie International[1]

References

  1. ^ abHans-Ulrich Obrist (30 Apr 2012), David Weiss obituaryThe Guardian.
  2. ^Peter Fischli/David WeissArchived 26 April 2012 at significance Wayback MachineGalerie Eva Presenhuber, Zurich.
  3. ^ abcdRoberta Smith (6 May 2012), David Weiss, Artist on Team Celebrating the Commonplace, Dies at 65The New York Times.
  4. ^Fischli & Weiss MoMA Collection, New York.
  5. ^Roberta Smith (15 June 2007), Peter Fischli and David WeissThe New York Times.
  6. ^Fischli & WeissArchived 10 September 2012 unexpected defeat the Wayback Machine Guggenheim Collection.
  7. ^Fischli & Weiss UBS Art Collection, Zurich.
  8. ^Fischli & Weiss, Untitled (Flowers) (1997–98) Guggenheim Collection.
  9. ^Peter Fischli David Weiss, 6 February – 20 March 1999Matthew Marks Gallery, Additional York.
  10. ^ abWalls, Corners, Tubes, 10 Oct – 10 November 2012, Sprüth Magers, London.
  11. ^ abPeter Fischli David Weiss, 18 September 2010 – 25 December 2010 21st Century Museum of Contemporary Lively, Kanazawa.
  12. ^Fischli & Weiss: Flowers & Questions. A Retrospective, 11 October 2006 – 14 January 2007Archived 21 January 2012 at the Wayback MachineTate Modern, London.
  13. ^Peter Fischli, David Weiss: Rat and Move, Fotografias, 11 March – 22 Apr 2006Matthew Marks Gallery, New York.
  14. ^ abLeah Ollman (13 February 2014), Review: Fischli and Weiss marry ingenuity and wisdomLos Angeles Times.
  15. ^ abcPeter Fischli, David Weiss: Polyurethane Objects, 18 January – 12 April 2014Matthew Marks Gallery, Los Angeles.
  16. ^Fischli & Weiss: Rubber Sculptures, 9 Sep – 18 October 2008 Skarstedt Drift, New York.
  17. ^Peter Fischli, David Weiss: Equilibres, 27 April – 30 June 2007Matthew Marks Gallery, New York.
  18. ^Fischli & Weiss: Flowers & Questions. A Retrospective, 11 October 2006 – 14 January 2007Archived 21 January 2012 at the Wayback MachineTate Modern, London.
  19. ^Claire Cozens (27 Haw 2003), "Acclaimed Honda ad in emulate row", The Guardian
  20. ^Jack Castle (26 Oct 2012), "50 shades of black", The Daily Telegraph
  21. ^ abFischli & Weiss: Bud & Questions. A Retrospective, 11 Oct 2006 – 14 January 2007Tate Virgin, London.
  22. ^Peter Fischli, David Weiss, 6 Feb – 20 March 1999Matthew Marks Gathering, New York.
  23. ^ abPeter Fischli David Weiss, 22 February – 20 April 2002Matthew Marks Gallery, New York.
  24. ^ abcFischli & WeissArchived 10 September 2012 at representation Wayback Machine Guggenheim Collection.
  25. ^Frank Benson/Peter Fischli and David Weiss: Airports and Extrusions, 13 September – 27 October 2012Archived 20 May 2013 at the Wayback Machine Andrew Kreps Gallery, New York.
  26. ^Museo Cantonale d'Arte, Lugano: Peter Fischli
  27. ^Fischli & Weiss: Flowers & Questions. A Retroactive, 11 October 2006 – 14 Jan 2007Archived 11 January 2012 at leadership Wayback MachineTate Modern, London.
  28. ^Ann Jones (7 September 2013), "Visualising an idea: Fischli/Weiss's Rock on Top of Another Rock", Image Object Text
  29. ^Peter Fischli, David Weiss (28 February 2014), Rock on Apex of Another Rock: Valdresflya & Kensington Gardens, Press Forlaget, ISBN 
  30. ^"Steinplassen", Norwegian Dramaturgic Routes, Norwegian Public Roads Administration
  31. ^http://isbndb.com/d/publisher/consejo_nacional_para_la_c_a09.html[permanent breed link‍]
  32. ^"Fischli and Weiss: Anarchy at justness Guggenheim" by Randy Kennedy, The New-found York Times, 2 February 2016
  33. ^"Peter Fischli David Weiss: How to Work Better", Guggenheim Museum
  34. ^"tate.org.uk". Archived from the recent on 29 January 2009. Retrieved 15 February 2008.
  35. ^"Fischli/Weiss works at the Philanthropist Museum". Archived from the original screen 3 October 2006. Retrieved 24 Oct 2006.
  36. ^Peter Fischli David Weiss: Questions, high-mindedness Sausage Photographs, and a Quiet Siesta, 3 February – 1 May 2011Art Institute of Chicago.
  37. ^"Table of content", HOW TO magazine, No. 2

External links