| | | | GLENSTONEPeter Fischli David WeissEdited by Emily Wei Rales, Ali Nemerov. Foreword by Emily Wei Rales, Mitchell P. Rales. Text by Boris Groys, Mark Godfrey. Interview by Brian O'Doherty, Hans Ulrich Obrist.
 Peter Fischli (born 1952) and David Weiss (1946–2012) collaborate to transform the stuff of ordinary life into a series of quizzical, whimsical, even disquieting encounters. Fascinated with unconventional subject matter and material, Fischli and Weiss toy with the idea of "high art," questioning popular narratives and movements in art and cultural history. Peter Fischli David Weiss presents an in-depth survey of the artists’ work from 1979 through 2012, drawn exclusively from Glenstone’s collection. The volume includes rubber and clay sculptures, photographic series including Equilibres (A Quiet Afternoon) and Sausage Series, digital slides such as Airports and Flowers and Mushrooms, stills from their acclaimed video The Way Things Go and the most recent iteration of their alter egos, Rat and Bear. Also reproduced is the artists’ most ambitious polyurethane installation, The Objects for Glenstone, and Questions, a slide installation of over 400 handwritten existential queries such as "Is the Devil a cheerful person?" and "Will happiness find me?" which won the Golden Lion Prize at the 2003 Venice Biennale.
Featured image is reproduced from Peter Fischli David Weiss. |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 1/23/2014 More than 500 of Peter Fischli and David Weiss' hand-carved and painted polyurethane replicas of everyday objects are featured in the Glenstone collection's 2011/2013 installation, "The Objects for Glenstone," reproduced in the wonderful new survey Peter Fischli David Weiss. In the book, which comes wrapped in a glossy, fold-out poster jacket, Tate Modern curator Mark Godfrey writes, "The carved polyurethane objects and black rubber sculptures bring Duchamp's 'readymades' to mind, but whereas Duchamp put into crisis the relationship between use value (a bottle rack can be used to dry bottles) and exchange value (as art, the bottle rack has a different value), Fischli and Weiss created objects whose handmade nature and uselessness is at the core of their identity, even if they are based on preexisting things. Duchamp's 'readymades' have the possibility of migrating back into the real world (one could use the shovel to shift snow), but Fischli and Weiss's objects would crumble or break if put to work. 'Freed from the slavery of their utility,' without purpose, they feel emptied out, but they can now become objects of speculation or affection." continue to blog | |  | WALTHER KöNIG, KöLNISBN: 9783753302508
USD $30.00 | CAN $42Pub Date: 1/10/2023
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USD $39.95 | CAN $53.95Pub Date: 6/30/2014
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USD $65.00 | CAN $87Pub Date: 2/28/2014
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USD $45.00 | CAN $60 UK £ 40Pub Date: 2/28/2014
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USD $69.00 | CAN $92.5Pub Date: 8/1/2008
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USD $20.00 | CAN $27.95Pub Date: 8/2/2003
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