Paying tribute to an artistic partnership of more than 30 years, this richly illustrated book explores Peter Fischli and David Weiss's acclaimed and influential body of work, known for its sly humor and profound meditations on the everyday. Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity, and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures, and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists' long history of collaboration, from the early Sausage Series (1979)--staged vignettes created in miniature using deli meats and various household items--to their last work, the large-scale public installation Rock on Top of Another Rock (2009-present), augmented by documentary images, notes on process, and interview excerpts culled from the artists' Zurich-based archives. A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss's vital contribution to contemporary art.

Peter Fischli (born 1952) and David Weiss (1946-2012) are celebrated around the world for their multidisciplinary projects, films, sculptures and books. The two artists began producing their Polyurethane Objects in 1982, and continued until Weiss tragically died in 2012 from cancer. Hand-carved and hand-painted, these sculptural works overturn the notion of the readymade while uncovering wit and poetry in everyday things. Edited and sequenced by Fischli himself, the book features 140 objects, depicting such humble and seemingly inauspicious items as power tools, shipping pallets, stained paintbrushes and buckets. The foldout cover depicts the sculptures as they are exhibited, in arrangements that evoke the distinctive disarray of an artist's studio.

An artist's book by the renowned Swiss duo dedicated to the questions that everyone asks themselves once in a while: Can something be unbelievable? Should I get drunk? Could I be Japanese? Is the freedom of birds overrated? Am I a farmer in winter? Does unease grow by itself? Should I crawl into my bed and stop producing things all the time?

The American artist Alexander Calder (1898-1976) and Swiss artists Peter Fischli (born 1952) and David Weiss (1946-2012) have all sought and found quintessential ways of rendering a moment of fragile balance in art--a temporary state at once precarious and propitious. With Calder's groundbreaking invention of the mobile in the early 1930s, and Fischli/Weiss's collaborative creative work from 1979 onwards, these artists each lent the theme of fragile balance an iconic form of a very different kind. At first glance, both positions could hardly be more different; later, however, they proved to be two sides of the same coin, the result of different perspectives on the same theme at different times. This elaborately designed, richly illustrated catalogue with accompanying essays provides insight into both oeuvres.

An illustrated discussion of Fischli and Weiss's famous film The Way Things Go, marking the twentieth anniversary of its first screening, explores why this captivating work continues to fascinate viewers. The Way Things Go (Der Lauf der Dinge) is a thirty-minute film by Swiss artists Peter Fischli and David Weiss featuring a series of chain reactions involving ordinary objects. It is also one of the truly amazing works of art produced in the late twentieth century. Admired, even loved, by members of the public as much as it is praised by the more specialist audience of artists, critics, and curators, The Way Things Go was perhaps the most popular work shown at Documenta 8, Kassel, in 1987. The work embodies many of the qualities that make Fischli and Weiss's work among the most captivating in the world today: slapstick humor and profound insight; a forensic attention to detail; a sense of illusion and transformation; and the dynamic exchange between states of order and chaos. In discussing what makes The Way Things Go utterly compelling to its viewers—whether they have seen it one time or many times—Jeremy Millar leaves no doubt as to why this film was chosen for the One Works series. As everyday objects crash, scrape, slide, or fly into one another with devastating, impossible, and persuasive effect, viewers find themselves witnessing a spectacle that seems at once prehistoric and postapocalyptic. Millar tells us why this extraordinary film speaks to us at the beginning of the twenty-first century. If history is “just one thing after another,” then The Way Things Go is truly a historic work. Jeremy Millar is an artist. He is the author of Place (with Tacita Dean) and has contributed to many artist's monographs. He has also curated many solo and group exhibitions internationally. Swiss artists Peter Fischli and David Weiss received Europe's most coveted art prize, the Roswitha Haftmann Prize, in November 2006. A major retrospective of their work, “Flowers and Questions,” originating at the Tate, London, travels to Zurich and Hamburg in 2007 and 2008.

Plötzlich diese Übersicht by the Swiss artists Peter Fischli (b. 1952) and David Weiss (1946-2012), 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. The artists 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 encyclopaedic knowledge and serious irony, are an integral part of the work.