Video production: Carolin Röckelein/Voiceover: Craig Burnett/Soundtrack: Erin Lang
Fischli Weiss ambush ordinary objects, places and materials, transforming them into insightful renditions of the everyday.
The large-scale sculptural installation The Raft (1982–83) forms the heart of Should I paint a pirate ship on my car with an armed figure on it holding a decapitated head by the hair?. Banal objects such as barrels, wooden crates and canisters are piled loosely atop wooden planks, while crocodiles and hippos appear to lurk in the surrounding waters. First conceived in 1982, the work took its present form when it was expanded for an exhibition curated by Martin Kippenberger, in Cologne, in 1982. Made at a time when the world was in the grip of the Cold War and faced with a despoiled environment, the work articulates with equal force the uncertainty of our present age. Sculpted entirely from polyurethane, a versatile material often used in film productions, the choice of medium situates the work in the realm of the modest and mundane.
If the composition recalls Théodore Géricault’s painting The Raft of the Medusa (1819), the objects on Fischli Weiss’s raft seem scarcely worth saving. A skull sits atop a treasure chest, while beside it a lifesaver offers an absurd counterpunch. The presence of a sow and her piglets recalls Noah’s ark, adding both an uplifting and a comic note to the overall air of disaster and precariousness.
Kanalvideo (1992) is silent, 60-minute video of footage from a camera advancing through an empty sewer. A dank, underground pipe, a feature of every large city in the world, is transformed into an abstract, contemplative kaleidoscope. Kanalvideo conjures a haunting poetics of the ordinary.
Fotografias (2005) draws on the world of trash culture, quoting the aesthetics of amusement parks and their promotional signage or decorated carousels. Exhibited on tables, the 10x15cm black-and-white photographs follow in the spirit of Fischli Weiss’s canonical work Visible World (1987–2000). The images in Fotografias alter the stridently colorful, large-format iconography of the amusement parks, focusing on surreal or grotesque details, and displaying them as small-format, black-and-white prints. The once exuberant, lurid imagery of the rides and diversions of the amusement park become dark and unplaceable, like traces of forgotten dreams.
Fotografias (2005) draws on the world of trash culture, quoting the aesthetics of amusement parks and their promotional signage or decorated carousels. Exhibited on tables, the 10x15cm black-and-white photographs follow in the spirit of Fischli Weiss’s canonical work Visible World (1987–2000). The images in Fotografias alter the stridently colorful, large-format iconography of the amusement parks, focusing on surreal or grotesque details, and displaying them as small-format, black-and-white prints. The once exuberant, lurid imagery of the rides and diversions of the amusement park become dark and unplaceable, like traces of forgotten dreams.
All installation views by Stephen White
Peter Fischli David Weiss
Should I paint a pirate ship on my car with an armed figure on it holding a decapitated head by the hair?
January 17–June 19, 2020