Fischli & Weiss

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Möbel als Kunstobjekt / Furniture as Art Object

“Möbel als Kunstobjekt” (“Furniture as Art Object”) was published in 1987 to accompany an exhibition of the same name held in Munich in 1987-1988.
This heavily researched book profiles an amazing selection of fine artists, designers, and architects that have challenged the field of furniture design and experimented with furniture design forms in their practice. It traces a long history of furniture as a field of endless provocative artistic forms and publishes here alongside essays and timelines, profiles and illustrated examples of work from no less than: Peter Josef Abels, Volker Albus, Sandra Antal, Ron Arad, Richard Artschwager, Elvira Bach, Joachim Bandau, Joseph Beuys, Bernhard Johannes Blume, Rudolf Bott, Heinrich Brummack, Marcel Breuer, Carlo Bugatti, Scott Burton, Tony Cragg, Miles Davies, Otto Dressler, Andre Dubreuil, Charles Eames, Egon Eiermann, Hildegard Erhard, Suzan Etkin, Rainer Fettin, Uwe Fischer/Klaus Achim Heine, Peter Fischli/David Weiss, Wolfgang Flatz, Rupprecht Geiger, Frank Gehry, Jochen Gerz, Walter Gropius, Al Hansen, Christian Hasucha, Wolfgang Hausler, Anne Jud, Donald Judd, Bruno K., Margaret Kelley, Martin Kippenberger, Jurgen Klauke, Imi Knoebel, Lawrence Compton Kolawole, Huub Kortekaas, Shiro Kuramata, Heinz Landes, Wolfgang Laubersheimer, El Lissitzky, Adolf Loos, Inge Mahn, Wasa Marjanov, Peter Monnig, George Nelson, Meret Oppenheim, Aribert von Ostrowski, Bruno Paul, Sarah Pelikan, Gaetano Pesce, Pino Poggi, Gerrit Rietveld, Thomas Ruff, Reiner Ruthenbeck, Denis Santachiara, Berthold Schepers, Karl Friedrich Schinkel, Klaus Schmitt, Ettore Sottsass, Daniel Spoerri, Patricia Maria Staudenhochtl, Stiletto, Axel Stumpf, Gunther Uecker , Timm Ulrichs, Karl Valentin, Hermann Waldenburg, Rupert Walser, Helmut Weber, Herbert Jakob Weinand, Stefan Wewerka, Georg Wirsching, Carl Emanuel Wolff, Bernd Zimmer, Stefan Zwicky… and so many more.

* Condition: Very Good  – All care is taken to provide accurate condition details of used books, photos available on request.

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Peter Fischli and David Weiss
Plötzlich diese Übersicht (Catalogue Raisonné)

Plötzlich diese Übersicht is a loose collection of over 350 hand-sculpted, unfired clay figures, is one of those artworks that is very familiar even to those who are not all that interested in art.

Fischli and Weiss have created a masterpiece, using an entirely unspectacular material to form sculptural snapshots that sparkle with cheerful wit: sketched models of everyday situations and objects; clay reproductions that reveal the absurdity and artificial normality of the ordinary.

Alongside them are semi-freely imagined scenes and events from history, culture, entertainment, sport and assorted memories from their own biographies, immortalised in emblematic scenarios.

The titles, with their characteristic subtle mockery, fragmentary encyclopadic knowledge and serious irony, are an integral part of the work.

This expansive catalogue raisonné art book gives an overview of the ‘Overview’. Moreover, the superb illustrations reveal the sculptural aspect of this multipartite work, begun in 1981, the quality and continued relevance of which goes beyond the sly humour of language and creative skill.

English edition.

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Peter Fischli and David Weiss
Flowers & Mushrooms


Flowers & Mushrooms
is the new and improved release of the previously published artists’ book from 1999.

Bursting with luscious colour and consisting of multiple superimposed images these photographs by Peter Fischli and David Weiss navigate the fine line between beauty and kitsch.

From 1997—98, the artists spent countless hours documenting gardens and mushroom patches, thoughtfully crafting intoxicating compositions.

The book is released on the occasion of the exhibition Fischli/Weiss: How to Work Better at the Guggenheim Museum, New York and the Museu Jumex, Mexico City in 2016.

 

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Peter Fischli and David Weiss
Ordnung und Reinlichkeit


Peter Fischli (1952) and David Weiss (1946–2012) began their 33-year collaboration in 1979. Resisting any specific style, medium, or material, their work explores the poetics of banality – the sublimity of the objects and events constituting everyday life. Indebted to Dada, Surrealism, Pop Art, and Conceptual Art, their photographs, videos, slide projections, films, books, sculptures, and multimedia installations rely on keen observation and uncanny wit.

Throughout the course of their partnership, Fischli and Weiss probed the idea of dualistic thinking. Perhaps because they were a team of two involved in constant dialogue and debate, they consistently interrogated Western culture’s reliance on contraries. In one way or another, everything they produced together playfully unravels what the artists understood to be “popular opposites” – labor versus leisure, fiction versus reality, kitsch versus beauty, and the banal versus the sublime. The artists embodied this approach in their alter egos, Rat and Bear, who, for all their differences (rats being ugly and ubiquitous while pandas are lovable and endangered), appear as equal partners in their various misadventures. Rat and Bear surface throughout Fischli and Weiss’s work in a range of forms, including appearances in the early films The Least Resistance (1980–81) and The Right Way (1983); as “authors” of the artists’ book Order and Cleanliness (1981); and as a sculpture, Rat and Bear (Sleeping) (2008).

The booklet Ordnung und Reinlichkeit (Order and Cleanliness, 1981) accompanied the Rat and Bear films and is crammed with charts and diagrams, each attempting to impose a crazed order on the world. The original booklet was a self produced booklet, comprising a set of 15 photocopies on sale following the first showing of The Least Resistance at a late-night screening in Zurich.

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