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Peter Fischli David Weiss

Paperback / softback

Main Details

Title Peter Fischli David Weiss
Authors and Contributors      Designed by Brad Yendle
By (author) Robert Fleck
By (author) Beate Soentgen
SeriesPhaidon Contemporary Artists Series
Physical Properties
Format:Paperback / softback
Pages:160
Dimensions(mm): Height 290,Width 250
Category/GenreArt and design styles - from c 1900 to now
Individual artists and art monographs
ISBN/Barcode 9780714843230
ClassificationsDewey:709.22
Audience
General

Publishing Details

Publisher Phaidon Press Ltd
Imprint Phaidon Press Ltd
Publication Date 11 July 2005
Publication Country United Kingdom

Description

Fischli and Weiss are highly prestigious, bluechip contemporary artists who work with sculpture, photography and video, positioned at the very cutting edges of new art. They represented Switzerland in the Venice Biennales of 1995 and 2003, and won the Leone d'Oro prize in the latter for their slideshow Will Happiness Find Me? The style of the work is extremely varied; what remains consistent throughout is an air of quiet unpredictability. The mood of the work ranges from the humorous (a clay figure group of 1981, for example, entitled Mick Jagger and Brian Jones Going Home Satisfied after Composing 'I Can't Get No Satisfaction'); to the banal (a photographic series devoted to Airports); and even the apparently invisible (their Untitled installation, simulating through minutely detailed polyurethane sculptures an unfinished exhibition site). Fischli & Weiss' work can be immune to the rules of gravity, for example in the Quiet Afternoon series, photographs of miraculously balanced objects. The pair's work also seems able to overcome the constraints of time and space, for example in their apparently endless journeys, resulting in the innumerable Visible World picture-postcard photographs of cities all over the world. With a truly unique body of work which is sometimes childishly thrown together, sometimes a virtuoso triumph of sculpture and moving image, this is the first book to draw together the mystery and contradiction of Fischli & Weiss. Fischli & Weiss have exhibited extensively worldwide. Their solo exhibitions include the Centre Georges Pompidou, Paris (1992), the Museum of Contemporary Art, Los Angeles (1988) and the Tate Modern, London (2005).

Author Biography

Robert Fleck (Survey) is the Director of the Deichtorhallen in Hamburg. He has been working as an art critic and curator since 1981. From 1991-93 he was the Federal Curator for Austrian contemporary art, and in 1998 he co-curated Manifesta 2. From 2000-03 he was Director of ERBAN Fine Art School in Nantes. His books include Die Muhl-Kommune (2003) and Yves Klein (2004). Author's Residence: Hamburg, Germany Beate Soentgen (Interview) is Professor of Art History at Ruhr University, Bochum, Germany. From 2003-4 she was Laurenz-Professor of Contemporary Art at Basel University, Switzerland, and from 1998-2002, Assistant Professor at the Academy of Fine Arts, Braunschweig, Germany. She has published several books and contributed to many catalogues and publications, including Texte zur Kunst and the Frankfurter Allgemeine Zeitung. Her post-doctorate focuses on 'Representation, Rhetoric, Knowledge'. Author's Residence: Bochum, Germany Arthur C. Danto (Focus) is Johnsonian Professor Emeritus of Philosophy at Columbia University, New York, and the art critic for The Nation. His books include Beyond the Brillo Box: The Visual Arts in Post Historical Perspective and Encounters (1992), and Reflections: Art in the Historical Present (1992), which won the Book Critics Circle Award. Author's Residence: New York The Artist's Choice by Swiss novelist Robert Walser (1878-1956), on the pleasure of walking, mirrors the artists' own rambling meanderings, while the Artist's Writings include unpublished scripts from early video works, and selections from Will Happiness Find Me? (2003). Artists' Residence: Zurich

Reviews

'The search for meaning within the randomness and absurdity of the everyday is the core of the Fischli-Weiss universe. But the grandiose pomposity that such an undertaking implies is outwitted in their work by a self-deprecating deadpan humour.' Kirsty Bell, Art Review, July 2005