a large white room with wooden floors and large rectangle windows in the ceiling is filled with plinths, pallets, and various DIY materials.

Photo © Tate: Joe Humphrys

Fischli and Weiss

Untitled (Tate)

Peter Fischli, David Weiss, Untitled (Tate)  1992–2000

At first glance Untitled (Tate) 1992–2000 appears to be a work in progress. The gallery is littered with the kinds of tools and rubbish found in a construction site or workshop. In fact, every element is a polyurethane sculpture.
Like a three-dimensional trompe-l’oeil still-life painting, the installation tricks the eye. It reverses artist Marcel Duchamp’s notion of the ‘readymade’. This is when an everyday object is presented in an art gallery as an artwork. The artists said: ‘Duchamp’s objects could revert back to everyday life at any point in time. Our objects can’t do that; they’re only there to be contemplated. They’re all objects from the world of utility and function, but they’ve become utterly useless.’

Gallery label, October 2020

© Peter Fischli and the estate of David Weiss, courtesy Matthew Marks Gallery, New York

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artworks in Fischli and Weiss

Art in this room

Untitled (Tate)
Peter Fischli, David Weiss Untitled (Tate) 1992–2000

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