Peter Fischli / David Weiss Biography

Peter Fischli and David Weiss, commonly known as Fischli and Weiss or Fischli/Weiss, collaborated from 1979 until Weiss' death in 2012. The artist duo is known for their examination of the banal as a subject of art, incorporating commonplace objects into vignettes and sculptural arrangements that are characterised by mock-seriousness and a suggestion of ordinary yet humorous narratives.

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The deliberately amateurish treatment of materials seen in many of Fischli and Weiss' works is evident in the 'Sausage Photographs' (1979)—their first collaboration—which consists of 10 photographs depicting everyday scenes made up of sausages and sliced meat. Sausages are dressed up in Sausage Fashion Show, while piles of hams and lunchmeat alongside small sausage figures suggest a carpet shop scene in At the Carpet Shop, and sausage cars collide in The Accident.

Wit and encyclopaedic collections come together in Fischli and Weiss works such as Suddenly This Overview (1981/2006). Across the hundreds of small-scale, unfired clay sculptures, the artist duo constructed vignettes of major and minor events in the history of the world, including Mick Jagger and Brian Jones Going Home Satisfied after Composing 'I Can't Get No Satisfaction'; everyday objects, like a loaf of bread; and opposites such as theory and practice, and large and small.

In text, too, Fischli and Weiss traversed insightful, mundane, and downright silly questions and insights about the world at large. The booklet Order and Cleanliness (1981) contains charts, diagrams, and drawings that gather together knowledge from a vast range of inquiries. Other such collections include the sculptural vortex of questions titled Question Pot (Big) (1986) and slide projection set Questions (2002–2003).

A rat and bear are recurring figures in Fischli and Weiss' work, first appearing in the Super 8 film The Least Resistance (1980–1981). Unfolding in Hollywood, the artists, donning rat and bear costumes, find themselves entangled in a murder in their pursuit of success. The animal costumes reappeared in a number of works, including Rat and Bear (Sleeping) (2008): a floor installation in which the pair are seemingly in slumber on a pile of blankets.

Fischli and Weiss further engaged with the banal and absurd in Equilibres (A Quiet Afternoon) (1984–1986): a collection of surreal photographs in which chairs, kitchen utensils, bottles, and tyres, among other items, are captured in precariously balanced arrangements. The objects topple and fall in The Way Things Go (1987)—a film directly inspired by Equilibres (A Quiet Afternoon). First screened as part of documenta 8, the video became one of Fischli/Weiss' most known and popular works.

The artist duo is also recognised for their polyurethane sculptures, painstakingly hand-carved and painted to emulate various objects. A somewhat apocalyptic narrative can be glimpsed in the floor installation The Raft (1982), in which an assortment of objects, from a cannon to a pig with its piglets, are stacked on a raft surrounded by crocodiles and hippopotami, all rendered true to life in polyurethane.

How to Work Better, a major retrospective exhibition of Fischli and Weiss' work from their 33 years in collaboration, was organised by the Solomon R. Guggenheim Museum, New York, in 2016. It travelled to Museo Jumex, Mexico City, later in the same year. Another major retrospective, Flowers & Questions was held at Tate Modern, London, in 2006 and represented the duo's first retrospective in the United Kingdom.

Peter Fischli / David Weiss Solo Exhibitions include:

Should I paint a pirate ship on my car with an armed figure on it holding a decapitated head by the hair? Sprüth Magers, London (2020); HAUS, Sprüth Magers, Berlin (2019); Snowman, Art Institute of Chicago (2017); Visible World, LUMA Arles, France (2017); Calder & Fischli/Weiss, Fondation Beyeler, Basel (2016).

Peter Fischli / David Weiss Group Exhibitions include:

Positions on Photography, Galerie Eva Presenhuber (2020); Useless: Machines for Dreaming, Thinking, and Seeing, The Bronx Museum of the Arts, New York (2019); Our Happy Life: Architecture and Well-Being in the Age of Emotional Capitalism, Canadian Centre for Architecture, Montreal (2019); Spiegelgasse (Mirror Alley), Hauser & Wirth, London (2018); Generation Loss: 10 Years of the Julia Stoschek Collection, Düsseldorf (2017); The Long Run, The Museum of Modern Art, New York (2017).

Sherry Paik | Ocula | 2020

Peter Fischli / David Weiss Featured Artworks

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Masturbine (Equilibres series) by Peter Fischli / David Weiss contemporary artwork photography
Peter Fischli / David Weiss Masturbine (Equilibres series), 1985 Gelatin silver print
40 x 30.5 cm
Galerie Eva Presenhuber Contact Gallery
Time Abused (Equilibres series) by Peter Fischli / David Weiss contemporary artwork photography
Peter Fischli / David Weiss Time Abused (Equilibres series), 1984 Chromogenic print, framed
40 x 30 cm
Galerie Eva Presenhuber Contact Gallery
Untitled (Fotografias) by Peter Fischli / David Weiss contemporary artwork photography
Peter Fischli / David Weiss Untitled (Fotografias), 2005 Image from 6 photographs mounted on white paper
Sprüth Magers Enquire
The Raft by Peter Fischli / David Weiss contemporary artwork installation
Peter Fischli / David Weiss The Raft, 1982/1983 Polyurethane, painted
500 x 400 x 350 cm
Sprüth Magers Enquire
Big Vase by Peter Fischli / David Weiss contemporary artwork sculpture
Peter Fischli / David Weiss Big Vase, 1985 Polyurethane, dressing, wooden glue, chalk powder
198.1 x 124.3 cm
Hauser & Wirth Enquire
Gas Station by Peter Fischli / David Weiss contemporary artwork sculpture, ceramics
Peter Fischli / David Weiss Gas Station, 1981 Unfired clay
10.5 x 21.5 x 20 cm
Hauser & Wirth Enquire
Zeit Die Zur Verfügung Steht by Peter Fischli / David Weiss contemporary artwork photography
Peter Fischli / David Weiss Zeit Die Zur Verfügung Steht, 1984-1986 Colour photograph
40 x 30 cm
Sprüth Magers Enquire
Vegeterisches Wagnis/The Apparition by Peter Fischli / David Weiss contemporary artwork photography
Peter Fischli / David Weiss Vegeterisches Wagnis/The Apparition, 1984-1985 Colour photograph
47 x 36 cm
Sprüth Magers Enquire

Peter Fischli / David Weiss Recent Exhibitions

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Peter Fischli / David Weiss Represented By

Galerie Eva Presenhuber contemporary art gallery in Maag Areal, Zürich, Zurich, Switzerland Galerie Eva Presenhuber New York, Zurich
Sprüth Magers contemporary art gallery in Berlin, Germany Sprüth Magers Berlin, London, Los Angeles

Peter Fischli / David Weiss In Ocula Magazine

Peter Fischli / David Weiss In Related Press

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THE SNOWMAN AS MODERN ART Related Press THE SNOWMAN AS MODERN ART 1 June 2017, The New Yorker

Anyone who has been to art school knows the groundbreaking work of the Swiss artists Peter Fischli and David Weiss, whose titillating Rube Goldberg-esque videos often wake students from their lecture-

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Review: Okayama Art Summit 2016 - 'Development' Related Press Review: Okayama Art Summit 2016 - 'Development' 18 October 2016, Art Agenda

It’s a sunny autumn day in the small Japanese city of Okayama, and two British men born in the 1960s are conversing about cameras. Liam Gillick and I both own the retro-looking Fujifilm X-Pro1, which we’ve chosen for its impressive price-to-performance ratio. “I’ve used it a lot in my work,” a ruddy-faced, relaxed, and...

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5 international biennials and triennials not to miss around Asia in Fall 2016 Related Press 5 international biennials and triennials not to miss around Asia in Fall 2016 31 August 2016, Art Radar Journal

From the 7th edition of Korea’s Busan Biennale to Japan’s new Triennial the Okayama Art Summit, these five international events will provide thoughtful reflection on new and refreshing curatorial practices in the context of the Biennale infrastructure.

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Calder and Fischli/Weiss at Fondation Beyeler, Switzerland Related Press Calder and Fischli/Weiss at Fondation Beyeler, Switzerland 23 June 2016, Aesthetica

The works of Alexander Calder and Fischli/Weiss, from the early and late-twentieth century, respectively, are now in dialogue, thanks to a recent Theodora Vischer project, senior curator at the Fondation Beyeler. In the entrance rooms, two figures (the size of children) lay on the floor. One in the costume of a black and white panda, the other, of...

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