255:) (1986–1987). The resulting film enlists an assortment of objects, including tyres and chairs, as components in a domino-like chain reaction lasting thirty minutes. Using such common industrial objects, Fischli and Weiss created a continuous chain of actions and reactions involving balloons deflating, tires rolling, liquids draining, candles melting, balls dropping, fuses burning, wheels spinning, and much more. The film's humour lies in the deliberate misuse of these objects, as they are co-opted into performing roles outside their normal function. Reminiscent of the physical comedy of silent films starring
165:(1981) is a collection of unfired clay sculptures imaginatively recreating various events in human history. The figures range from those rendered in meticulous detail, to coarse, sketch-like pieces. As is implied by "The World We Live In" – the title originally envisaged for the work – this panorama of interwoven happenings in the world arising out of the artists' subjective viewpoint, with its assembly of events both large and small, questions what it means to be alive. First unveiled in 1981 as an installation consisting of around 200 objects, a new version comprising about 90 was presented in 2006.
387:, 1981–2003) is a three-part, 15-channel slide installation, consisting of 243 handwritten questions, with three questions projected at a time. Each set of questions slowly dissolves into the next. The questions range from the profound to the trivial. Examples include: "Can I restore my innocence?," "Why does the earth turn around once a day?," "Does a hidden tunnel lead directly to the kitchen?" and "Does a ghost drive my car around at night?" The installation was the culmination of a series of works composed of absurd questions, including a book called
436:
33:
341:(2003) is a collection of 3,000 small-format photographs displayed on a specially fabricated 90-foot long light table. The encyclopedic collection of images – of cities, jungles, deserts, airports, stadiums, monuments, mountains, and tropical beaches, from all over the world – is composed of photographs taken by the artists over the course of fifteen years.
330:
sharply focused, with appealing subject matter such as woodland glades and sunlit gardens. The images, taken in arbitrary locations around the world, slowly dissolve one into another and, as is also the case with their slide shows, there is no sound track. The work was shown on late night television in
Germany every night for three months.
94:. Having rejected careers as a decorator, a graphic designer and a photographer, Weiss soon came to view a career as an artist as a realistic prospect. He studied at the Kunstgewerbeschule, Zürich (1963–64), and the Kunstgewerbeschule, Basel (1964–65); he subsequently worked as a sculptor with Alfred Gruber (Basel) and
148:, at which they represented 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 in Zürich: a mountain sunrise, a restaurant chef in his kitchen, sanitation workers, a bicycle race, and so on. For the
140:(1979) was Fischli and Weiss' first collaborative project, setting the tone for their future work. In the series, ordinary sausages and slices of sausages became the protagonists of scenarios, alluding to situations such as cars in a traffic accident in an urban setting, layers of carpets and other situations.
1384:
329:
comprises three monitors each displaying an eight-hour video made up of the artists' still photographs. The series includes much-photographed views such as the New York skyline, Sydney
Harbour and the Pyramids. Others are the kind of pictures taken by amateur photographers, conventionally composed,
676:, Fischli and Weiss exhibited 96 hours of video on 12 monitors that documented what they called "concentrated daydreaming"—real-time glimpses into daily life in Zürich: a mountain sunrise, a restaurant chef in his kitchen, sanitation workers, a bicycle race, and so on.
409:(2012), the artists present a series of objects with geometrical bodies which have the form of walls, corners, and tubes and are made alternately of black rubber and unfired clay placed on high, white pedestals. Both the shapes of the objects and their titles such as
310:
are used in the chain instead of fire and foam. Fischli and Weiss had previously declined offers to use their film commercially, and briefly threatened legal action against Honda for use of their ideas, although in the end no lawsuit was filed.
106:
art of the time. Between 1970 and 1979 he published books in collaboration with Lüthi. For most of 1975–78, he spent a great deal of time drawing in black ink, and had exhibitions at galleries in Zürich, Amsterdam, Cologne, and
Rotterdam.
1349:
1036:
215:, carved from dense, rigid foam and painted. In a 2006 interview Peter Fischli remarked, "Unlike Pop art, which turns one particular object into an icon, they are a collection of replicas of worthless everyday objects." For a series of
143:
By the end of the 1980s, the duo had expanded their repertoire to embrace an iconography of the incidental, creating deadpan photographs of kitsch tourist attractions and airports around the world. For their contribution to the 1995
353:
and consists of pictures rejected from the prior work. A marked aesthetic departure from their earlier pieces, this slide projection issues forth violent, sumptuous and otherworldly images. A later series is
185:(1982–83) was their second appearance and shows the two characters rambling through a mountainous landscape, of the kind that filled 19th-century artists with thoughts of the sublime. A book called
636:, an installation of over 1,000 photographic slides of handwritten existential questions the artists had collected over many years. In 2006 they received the Roswitha Haftmann Prize, Switzerland.
1346:
1033:
86:
David Weiss (21 June 1946 – 27 April 2012) grew up as the son of a parish priest and a teacher. After discovering a passion for jazz at the age of 16, he enrolled in a foundation course at the
558:. Three different perspectives through photography, where the artists are a means to portray street findings within the urban landscape, its surroundings and its objects. It was curated by
193:(2004) is a sculpture that incorporates the original costumes worn by the artists, presented in life-size boxes out of dark, barely-translucent Plexiglas, suspending the costumes inside.
71:
as being "post apocalyptic", as it concerned chain reactions and the ways in which objects flew, crashed and exploded across the studio in which it was shot. Fischli lives and works in
114:("sausage series", 1979), depicting small scenes constructed with various types of meat and sausage and everyday objects, with titles such as "At the North Pole" and "The Caveman".
245:
photographs (1984–1987), a series of images of household objects and studio detritus arranged to form tenuously balanced assemblages, developed into the artists' celebrated film
363:
1517:
1170:
152:(1997), Fischli and Weiss planted a flower and vegetable garden conceived with an ecological point of view and documented its periodic growth through photographs.
110:
Fischli and Weiss met in 1978 and subsequently formed a short-lived rock band, Migros. Their first collaborative venture was a series of ten colour photographs,
263:, here the actors are steaming-kettles mounted on roller-skates, rotating dustbin bags, rickety stepladders set in motion, buckets, tyres, bottles and planks.
1052:
953:
1132:
1398:
1237:
1293:
576:
in New York City presented their first survey in New York in 2016. The exhibition was accompanied by a display of their text-based monument to labour,
480:
in New York in 1986. In more than 25 years of activity, the pair exhibited in some of the most important institutions and museums worldwide including
476:
at the
Galerie Stähli in 1981, they became regulars on the international art scene. Their first solo exhibition in the United States was shown at the
284:(1985/2006), a documentary that gave a behind-the-scenes look of the many experiments, rehearsals, and failures behind the controlled catastrophes of
1064:
1543:
513:
1650:
983:
189:(1981), setting out the ideas of Rat and Bear, is crammed with charts and diagrams, each attempting to impose a crazed order on the world.
1595:
211:
objects depicting ordinary items found in their studio. Each object is a replica, down to the strewn peanut shells and scatter of rainbow
334:
exists in a number of other formats; as an artists' book and as an installation of fifteen light tables displaying a vast slide archive.
1368:
751:
1488:
908:
505:
395:(1986), a large container molded from polyurethane, questions were written all over the inside of the pot in spiral formation.
1521:
765:
1192:
288:
It was shot over three days in 1985 by a friend, Swiss writer and publisher
Patrick Frey, but went unreleased for 20 years.
481:
1635:
1504:
501:
17:
489:
1445:
1016:
791:
1460:
1612:
1645:
1326:
1308:
1219:
1151:
1080:
887:
849:
836:
817:
804:
778:
1129:
1587:
1569:
Peter
Fischli David Weiss: Questions, the Sausage Photographs, and a Quiet Afternoon, 3 February – 1 May 2011
1395:
1234:
950:
485:
293:
1274:
617:
573:
149:
472:
Fischli and Weiss had their first solo exhibition in 1981 at the
Galerie Balkon in Geneva. After showing
451:
726:), 16 mm, 52 minutes, color, sound. Journey of the artist through Switzerland, as a rat and a bear
555:
1547:
1207:
1477:
613:
1571:
1366:
Frank Benson/Peter
Fischli and David Weiss: Airports and Extrusions, 13 September – 27 October 2012
1257:
933:
525:
103:
687:), 96 hours of video material with everyday scenes from Zürich on multiple monitors simultaneously
358:, a slide presentation of 469 photographs the artists took over a period of two decades. His Work
1117:
960:
1396:
Fischli & Weiss: Flowers & Questions. A Retrospective, 11 October 2006 – 14 January 2007
1294:
Fischli & Weiss: Flowers & Questions. A Retrospective, 11 October 2006 – 14 January 2007
1235:
Fischli & Weiss: Flowers & Questions. A Retrospective, 11 October 2006 – 14 January 2007
1130:
Fischli & Weiss: Flowers & Questions. A Retrospective, 11 October 2006 – 14 January 2007
1592:
1568:
1419:
539:
and in 2003 were included in the "Utopia
Station" exhibition of the Venice Biennale curated by
698:). Video compilation of previously existing recordings of the sewage monitoring service Zürich
1329:
1311:
1222:
1195:
1154:
1083:
737:), Super 8, 30 minutes, color, sound. The artists walk through Hollywood, as a rat and a bear
712:
566:
493:
1000:
1365:
425:, 2012) recall functional objects, such as those often found at building supplies stores.
8:
1278:
298:
517:
1020:
987:
929:
540:
529:
461:
444:
440:
272:
95:
87:
57:
559:
1640:
1441:
1174:
883:
845:
832:
813:
800:
787:
774:
761:
707:
497:
477:
247:
543:
for which they were awarded the leone' d'oro for best work in the main exhibition.
1102:
55:
artist duo that collaborated beginning in 1979. Their best-known work is the film
1599:
1402:
1372:
1353:
1241:
1136:
1040:
957:
629:
536:
303:
256:
145:
51:(21 June 1946 – 27 April 2012), often shortened to Fischli/Weiss, were a
1152:
Peter
Fischli, David Weiss: Rat and Bear, Fotografias, 11 March – 22 April 2006
585:
551:
521:
123:
102:
in Montreal, before travelling to New York, where he got to know the important
32:
1604:
711:), 16 mm, 30 minutes, color, sound. The camera follows the course of the
435:
1629:
1012:
979:
260:
131:
1193:
Peter Fischli, David Weiss: Polyurethane Objects, 18 January – 12 April 2014
1620:
1261:
937:
597:
307:
208:
207:
In 1982, the artists began their ongoing series of hand-carved and painted
67:
496:
festival, France. A U.S. retrospective of their work was organised by the
91:
1405:
1296:
1244:
1139:
589:
509:
457:
277:
212:
178:
127:
52:
270:
won awards at the Berlin and Sydney film festivals and was described by
90:, Zürich, where in his first year of study he befriended fellow artist
1208:
Fischli & Weiss: Rubber Sculptures, 9 September – 18 October 2008
322:
72:
1420:"Visualising an idea: Fischli/Weiss's Rock on Top of Another Rock"
1478:
http://isbndb.com/d/publisher/consejo_nacional_para_la_c_a09.html
1438:
Rock on Top of Another Rock: Valdresflya & Kensington Gardens
99:
1220:
Peter Fischli, David Weiss: Equilibres, 27 April – 30 June 2007
1118:
Peter Fischli David Weiss, 18 September 2010 – 25 December 2010
367:
608:
Their works are held, among others, in the collections of the
984:
David Weiss, Artist on Team Celebrating the Banal, Dies at 65
581:
196:
609:
565:
Peter Fischli and David Weiss have been represented by the
1435:
878:
with Elizabeth Armstrong, Arthur C. Danto, Boris Groys:
628:
Fischli and Weiss won the Golden Lion prize at the 2003
1342:
1340:
1338:
1327:
Peter Fischli David Weiss, 22 February – 20 April 2002
1309:
Peter Fischli, David Weiss, 6 February – 20 March 1999
1094:
1092:
925:
923:
869:, photo book, Edition Patrick Frey/IVAM, Valencia 1989
1081:
Peter Fischli David Weiss, 6 February – 20 March 1999
863:, Edition Patrick Frey, Zürich/Secession, Vienna 1990
83:
Peter Fischli (born 8 June 1952) was born in Zürich.
1171:
Review: Fischli and Weiss marry ingenuity and wisdom
669:), DVD of a cat drinking milk, 6 minutes, 30 seconds
524:, Hamburg. Recent solo exhibitions were held at the
219:, they cast ordinary objects, such as a desk drawer
1335:
1188:
1186:
1184:
1089:
920:
1120:21st Century Museum of Contemporary Art, Kanazawa.
831:, Edition Florian Matzner, Oktagon, Cologne 1998,
508:. Another retrospective of their work was held at
1627:
1181:
1113:
1111:
842:Peter Fischli/David Weiss. Biennale Venedig 1995
292:became the inspiration for the even more famous
1505:"Peter Fischli David Weiss: How to Work Better"
1436:Peter Fischli, David Weiss (28 February 2014),
276:as a "masterpiece". For their retrospective at
36:Peter Fischli and David Weiss, film still from
1544:"Fischli/Weiss works at the Guggenheim Museum"
1489:"Fischli and Weiss: Anarchy at the Guggenheim"
1289:
1287:
1165:
1163:
456:This was a pair of installations – one on the
428:
1385:Museo Cantonale d'Arte, Lugano: Peter Fischli
1322:
1320:
1108:
181:, where the artists were living at the time.
78:
1621:Fischli/Weiss at Fondazione Nicola Trussardi
771:Peter Fischli & David Weiss. Fotografias
535:In 1995 they represented Switzerland in the
1284:
1160:
134:in Fischli and Weiss' parody bearing work.
1317:
1417:
500:in 1996 and subsequently traveled to the
155:
825:, 35 prints, Walther König, Cologne 2000
514:Musée d'Art Moderne de la Ville de Paris
434:
398:
40:, 1987, mixed media, dimensions variable
31:
1467:, Norwegian Public Roads Administration
975:
973:
971:
969:
506:Museum of Contemporary Art, Los Angeles
460:plateau in Norway and the other at the
14:
1628:
512:, London in 2006, and traveled to the
231:(1987) in a heavyweight black rubber.
173:The artists' first Rat and Bear film,
600:every night in February at midnight.
482:Museu d’Art Contemporani de Barcelona
98:(England). In 1967, he worked at the
1651:Zurich University of the Arts alumni
966:
234:
857:, Edition Patrick Frey, Zürich 1992
596:on multiple advertising screens on
122:Art critics often see parallels to
24:
758:Fischli/Weiss: Fragen & Blumen
502:San Francisco Museum of Modern Art
25:
1662:
1581:
1258:Acclaimed Honda ad in copycat row
1101:, 10 October – 10 November 2012,
760:, Vice Versa; edition: 1 (2006),
548:Aprendiendo menos (learning less)
439:A rock on top of another rock in
1605:First Run Icarus Films Site for
1169:Leah Ollman (13 February 2014),
894:
639:
314:
280:in 2006, Fischli/Weiss unveiled
1562:
1536:
1510:
1498:
1482:
1471:
1453:
1429:
1411:
1389:
1378:
1375:Andrew Kreps Gallery, New York.
1359:
1302:
1273:Jack Castle (26 October 2012),
1267:
1250:
1228:
1213:
1201:
1145:
1123:
812:, Walther König, Cologne 2000,
799:, Walther König, Cologne 2003,
773:, Walther König, Cologne 2005,
492:in Mexico City (2005); and the
490:Museo Tamayo Arte Contemporáneo
168:
75:; Weiss died on 27 April 2012.
1593:Fischli/Weiss at Matthew Marks
1418:Ann Jones (7 September 2013),
1074:
1058:
1046:
1027:
1006:
994:
944:
623:
603:
550:united Fischli and Weiss with
467:
327:Sichtbare Welt (Visible World)
13:
1:
1256:Claire Cozens (27 May 2003),
1017:Peter Fischli and David Weiss
913:
486:Museum Boijmans Van Beuningen
345:(2000–06), originally titled
1210:Skarstedt Gallery, New York.
574:Solomon R. Guggenheim Museum
373:
266:Well known in film circles,
7:
1055:UBS Art Collection, Zürich.
452:Rock on Top of Another Rock
430:Rock on Top of Another Rock
10:
1667:
1636:Swiss contemporary artists
1003:MoMA Collection, New York.
449:
79:Education and early career
1588:Artists' Official Website
1352:10 September 2012 at the
1039:10 September 2012 at the
951:Peter Fischli/David Weiss
855:Siedlungen, Agglomeration
823:Musée d'art moderne Paris
658:), DVD, color, 30 minutes
644:
150:Skulptur Projekte Münster
1572:Art Institute of Chicago
741:
731:Der geringste Widerstand
674:Adventures close to Home
546:In 2000, the exhibition
526:Art Institute of Chicago
177:(1981) was set in urban
117:
1598:23 January 2009 at the
1465:Norwegian Scenic Routes
1401:11 January 2012 at the
1240:21 January 2012 at the
1135:21 January 2012 at the
961:Galerie Eva Presenhuber
592:, and by screenings of
389:Will Happiness Find Me?
306:), in which parts of a
47:(born 8 June 1952) and
1613:T&C Film Site for
1356:Guggenheim Collection.
1071:Guggenheim Collection.
1043:Guggenheim Collection.
906:Carnegie International
797:Findet mich das Glück?
754:, 2007, ISSN 1864-8614
614:Pérez Art Museum Miami
612:, United Kingdom, the
474:Suddenly This Overview
447:
364:Museo Cantonale d'Arte
163:Suddenly this Overview
157:Suddenly This Overview
65:, 1987), described by
41:
1330:Matthew Marks Gallery
1312:Matthew Marks Gallery
1223:Matthew Marks Gallery
1196:Matthew Marks Gallery
1155:Matthew Marks Gallery
1099:Walls, Corners, Tubes
1084:Matthew Marks Gallery
1065:Fischli & Weiss,
956:26 April 2012 at the
713:Rube Goldberg Machine
567:Matthew Marks Gallery
504:, San Francisco; and
488:in Rotterdam (2003);
438:
407:Walls, Corners, Tubes
400:Walls, Corners, Tubes
391:(2002). In the later
187:Order and Cleanliness
35:
934:David Weiss obituary
875:, VHS-Kassette, 1989
735:The Least Resistance
321:Originally made for
198:Polyurethane Objects
175:The Least Resistance
1646:Artists from Zürich
1507:, Guggenheim Museum
1371:20 May 2013 at the
1347:Fischli & Weiss
1279:The Daily Telegraph
1053:Fischli & Weiss
1034:Fischli & Weiss
1001:Fischli & Weiss
880:In a Restless World
681:Arbeiten im Dunkeln
616:, Florida, and the
464:in London in 2013.
347:Freakshow; Monsters
337:A later version of
18:Fischli & Weiss
1607:The Ways Things Go
1524:on 29 January 2009
1493:The New York Times
1491:by Randy Kennedy,
1440:, Press Forlaget,
1275:50 shades of black
1067:Untitled (Flowers)
1021:The New York Times
988:The New York Times
930:Hans-Ulrich Obrist
873:Der Lauf der Dinge
784:Der Lauf der Dinge
752:HOW TO magazine #2
750:, 7/10 printed in
703:Der Lauf der Dinge
580:(1991), as a wall
578:How to Work Better
541:Rirkrit Tiravanija
530:Serpentine Gallery
494:Rencontres d'Arles
462:Serpentine Gallery
448:
445:Serpentine Gallery
441:Kensington Gardens
393:Question Pot (Big)
286:The Way Things Go.
273:The New York Times
253:Der Lauf Der Dinge
96:Jacqueline Stieger
88:Kunstgewerbeschule
58:Der Lauf der Dinge
42:
1615:The Way Things Go
1550:on 3 October 2006
1495:, 2 February 2016
1424:Image Object Text
1175:Los Angeles Times
932:(30 April 2012),
861:Bilder, Ansichten
786:, PAL-DVD, 2005;
766:978-3-905770-08-7
715:with several cuts
708:The Way Things Go
685:Works in the Dark
584:at the corner of
556:Richard Wentworth
532:, London (2013).
498:Walker Art Center
478:Sonnabend Gallery
356:Views of Airports
343:An Unsettled Work
290:The Way Things Go
268:The Way Things Go
248:The Way Things Go
236:The Way Things Go
217:Rubber Sculptures
202:Rubber Sculptures
63:The Way Things Go
38:The Way Things Go
16:(Redirected from
1658:
1575:
1566:
1560:
1559:
1557:
1555:
1546:. Archived from
1540:
1534:
1533:
1531:
1529:
1520:. Archived from
1514:
1508:
1502:
1496:
1486:
1480:
1475:
1469:
1468:
1457:
1451:
1450:
1433:
1427:
1426:
1415:
1409:
1393:
1387:
1382:
1376:
1363:
1357:
1344:
1333:
1324:
1315:
1306:
1300:
1291:
1282:
1271:
1265:
1254:
1248:
1232:
1226:
1217:
1211:
1205:
1199:
1190:
1179:
1167:
1158:
1149:
1143:
1127:
1121:
1115:
1106:
1096:
1087:
1078:
1072:
1062:
1056:
1050:
1044:
1031:
1025:
1015:(15 June 2007),
1010:
1004:
998:
992:
977:
964:
948:
942:
927:
518:Kunsthaus Zürich
381:Fragenprojektion
282:Making Things Go
227:(1986/87) and a
21:
1666:
1665:
1661:
1660:
1659:
1657:
1656:
1655:
1626:
1625:
1600:Wayback Machine
1584:
1579:
1578:
1567:
1563:
1553:
1551:
1542:
1541:
1537:
1527:
1525:
1516:
1515:
1511:
1503:
1499:
1487:
1483:
1476:
1472:
1459:
1458:
1454:
1448:
1434:
1430:
1416:
1412:
1403:Wayback Machine
1394:
1390:
1383:
1379:
1373:Wayback Machine
1364:
1360:
1354:Wayback Machine
1345:
1336:
1325:
1318:
1307:
1303:
1292:
1285:
1272:
1268:
1255:
1251:
1242:Wayback Machine
1233:
1229:
1218:
1214:
1206:
1202:
1191:
1182:
1168:
1161:
1150:
1146:
1137:Wayback Machine
1128:
1124:
1116:
1109:
1097:
1090:
1079:
1075:
1063:
1059:
1051:
1047:
1041:Wayback Machine
1032:
1028:
1011:
1007:
999:
995:
978:
967:
958:Wayback Machine
949:
945:
928:
921:
916:
897:
744:
647:
642:
630:Venice Biennale
626:
606:
560:Patricia Martín
537:Venice Biennale
528:(2011) and the
470:
454:
433:
419:Röhre aus Gummi
403:
378:
319:
257:Charlie Chaplin
239:
205:
171:
160:
146:Venice Biennale
120:
81:
28:
23:
22:
15:
12:
11:
5:
1664:
1654:
1653:
1648:
1643:
1638:
1624:
1623:
1618:
1610:
1602:
1590:
1583:
1582:External links
1580:
1577:
1576:
1561:
1535:
1509:
1497:
1481:
1470:
1461:"Steinplassen"
1452:
1446:
1428:
1410:
1388:
1377:
1358:
1334:
1316:
1301:
1283:
1266:
1249:
1227:
1212:
1200:
1198:, Los Angeles.
1180:
1159:
1144:
1122:
1107:
1088:
1073:
1057:
1045:
1026:
1005:
993:
982:(6 May 2012),
965:
943:
918:
917:
915:
912:
911:
910:
896:
893:
892:
891:
876:
870:
864:
858:
852:
839:
826:
820:
810:Sichtbare Welt
807:
794:
781:
768:
755:
743:
740:
739:
738:
727:
720:Der rechte Weg
716:
699:
688:
677:
670:
659:
646:
643:
641:
638:
625:
622:
605:
602:
552:Gabriel Orozco
522:Deichtorhallen
469:
466:
450:Main article:
432:
427:
423:Tube of Rubber
402:
397:
377:
372:
362:, 2004, is by
349:, grew out of
318:
313:
304:Wieden+Kennedy
238:
233:
204:
195:
170:
167:
159:
154:
124:Marcel Duchamp
119:
116:
80:
77:
26:
9:
6:
4:
3:
2:
1663:
1652:
1649:
1647:
1644:
1642:
1639:
1637:
1634:
1633:
1631:
1622:
1619:
1617:
1616:
1611:
1609:
1608:
1603:
1601:
1597:
1594:
1591:
1589:
1586:
1585:
1573:
1570:
1565:
1549:
1545:
1539:
1523:
1519:
1518:"tate.org.uk"
1513:
1506:
1501:
1494:
1490:
1485:
1479:
1474:
1466:
1462:
1456:
1449:
1447:9788275475426
1443:
1439:
1432:
1425:
1421:
1414:
1407:
1404:
1400:
1397:
1392:
1386:
1381:
1374:
1370:
1367:
1362:
1355:
1351:
1348:
1343:
1341:
1339:
1331:
1328:
1323:
1321:
1313:
1310:
1305:
1298:
1295:
1290:
1288:
1281:
1280:
1276:
1270:
1264:
1263:
1259:
1253:
1246:
1243:
1239:
1236:
1231:
1224:
1221:
1216:
1209:
1204:
1197:
1194:
1189:
1187:
1185:
1177:
1176:
1172:
1166:
1164:
1156:
1153:
1148:
1141:
1138:
1134:
1131:
1126:
1119:
1114:
1112:
1104:
1103:Sprüth Magers
1100:
1095:
1093:
1085:
1082:
1077:
1070:
1068:
1061:
1054:
1049:
1042:
1038:
1035:
1030:
1023:
1022:
1018:
1014:
1013:Roberta Smith
1009:
1002:
997:
990:
989:
985:
981:
980:Roberta Smith
976:
974:
972:
970:
962:
959:
955:
952:
947:
940:
939:
935:
931:
926:
924:
919:
909:
907:
903:
902:Life on Mars,
899:
898:
895:Contributions
889:
885:
881:
877:
874:
871:
868:
865:
862:
859:
856:
853:
851:
847:
843:
840:
838:
834:
830:
827:
824:
821:
819:
815:
811:
808:
806:
802:
798:
795:
793:
792:9789054691440
789:
785:
782:
780:
776:
772:
769:
767:
763:
759:
756:
753:
749:
746:
745:
736:
732:
728:
725:
724:The Right Way
721:
717:
714:
710:
709:
704:
700:
697:
693:
689:
686:
682:
678:
675:
671:
668:
664:
660:
657:
653:
649:
648:
640:Notable works
637:
635:
631:
621:
619:
615:
611:
601:
599:
595:
591:
587:
583:
579:
575:
570:
568:
563:
561:
557:
553:
549:
544:
542:
538:
533:
531:
527:
523:
519:
515:
511:
507:
503:
499:
495:
491:
487:
483:
479:
475:
465:
463:
459:
453:
446:
442:
437:
431:
426:
424:
420:
416:
412:
408:
401:
396:
394:
390:
386:
382:
376:
371:
369:
365:
361:
357:
352:
351:Visible World
348:
344:
340:
339:Visible World
335:
333:
332:Visible World
328:
324:
317:
316:Visible World
312:
309:
305:
301:
300:
295:
291:
287:
283:
279:
275:
274:
269:
264:
262:
261:Buster Keaton
258:
254:
250:
249:
244:
237:
232:
230:
226:
222:
218:
214:
210:
203:
199:
194:
192:
188:
184:
183:The Right Way
180:
176:
166:
164:
158:
153:
151:
147:
141:
139:
135:
133:
132:Jean Tinguely
129:
125:
115:
113:
108:
105:
101:
97:
93:
89:
84:
76:
74:
70:
69:
64:
60:
59:
54:
50:
46:
45:Peter Fischli
39:
34:
30:
27:Swiss artists
19:
1614:
1606:
1564:
1552:. Retrieved
1548:the original
1538:
1526:. Retrieved
1522:the original
1512:
1500:
1492:
1484:
1473:
1464:
1455:
1437:
1431:
1423:
1413:
1391:
1380:
1361:
1304:
1277:
1269:
1262:The Guardian
1260:
1252:
1230:
1215:
1203:
1173:
1147:
1125:
1098:
1076:
1066:
1060:
1048:
1029:
1019:
1008:
996:
986:
946:
938:The Guardian
936:
905:
901:
879:
872:
866:
860:
854:
841:
828:
822:
809:
796:
783:
770:
757:
747:
734:
730:
723:
719:
706:
702:
696:Sewage Video
695:
691:
684:
680:
673:
666:
662:
655:
651:
633:
627:
620:, New York.
607:
598:Times Square
594:Büsi (Kitty)
593:
590:Mott Streets
577:
571:
569:since 1999.
564:
547:
545:
534:
473:
471:
455:
443:outside the
429:
422:
418:
415:Wall of Clay
414:
411:Wand aus Ton
410:
406:
404:
399:
392:
388:
384:
380:
379:
374:
359:
355:
350:
346:
342:
338:
336:
331:
326:
320:
315:
308:Honda Accord
297:
289:
285:
281:
271:
267:
265:
252:
246:
242:
240:
235:
228:
224:
220:
216:
209:polyurethane
206:
201:
197:
191:Rat and Bear
190:
186:
182:
174:
172:
169:Rat and Bear
162:
161:
156:
142:
137:
136:
121:
111:
109:
85:
82:
68:The Guardian
66:
62:
56:
48:
44:
43:
37:
29:
1528:15 February
1406:Tate Modern
1332:, New York.
1314:, New York.
1297:Tate Modern
1245:Tate Modern
1225:, New York.
1157:, New York.
1140:Tate Modern
1086:, New York.
624:Recognition
604:Collections
510:Tate Modern
468:Exhibitions
458:Valdresflye
417:, 2012) or
323:documenta X
278:Tate Modern
179:Los Angeles
128:Dieter Roth
49:David Weiss
1630:Categories
1554:24 October
914:References
888:0935640517
850:3906700917
837:3896110438
818:3883754331
805:388375630X
779:3883759740
748:Wurstserie
692:Kanalvideo
618:Guggenheim
243:Equilibres
223:(1987), a
138:Wurstserie
112:Wurstserie
104:minimalist
1408:, London.
1299:, London.
1247:, London.
1142:, London.
1105:, London.
1069:(1997–98)
963:, Zürich.
904:the 2008
890:(English)
634:Questions
385:Questions
375:Questions
302:(made by
213:M&M's
92:Urs Lüthi
1641:Art duos
1596:Archived
1399:Archived
1369:Archived
1350:Archived
1238:Archived
1133:Archived
1037:Archived
954:Archived
882:, 1996,
867:Airports
844:, 1995,
520:and the
484:(2000);
325:(1997),
229:Dog Dish
586:Houston
296:advert
221:Divider
100:Expo 67
1444:
886:
848:
835:
829:Gärten
816:
803:
790:
777:
764:
645:Movies
368:Lugano
360:Schilf
73:Zürich
900:2008
742:Books
729:1981
718:1983
701:1987
690:1992
679:1995
672:1995
667:Kitty
661:2001
652:Hunde
650:2003
582:mural
294:Honda
118:Works
53:Swiss
1556:2006
1530:2008
1442:ISBN
884:ISBN
846:ISBN
833:ISBN
814:ISBN
801:ISBN
788:ISBN
775:ISBN
762:ISBN
663:Büsi
656:Dogs
632:for
610:Tate
588:and
572:The
554:and
241:The
225:Vase
200:and
405:In
366:of
299:Cog
259:or
130:or
1632::
1463:,
1422:,
1337:^
1319:^
1286:^
1183:^
1162:^
1110:^
1091:^
968:^
922:^
562:.
516:,
370:.
126:,
1574:.
1558:.
1532:.
1178:.
1024:.
991:.
941:.
733:(
722:(
705:(
694:(
683:(
665:(
654:(
421:(
413:(
383:(
251:(
61:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
