Facsimile [Coop Zurich]
Peter Fischli, David Weiss
1993
Facsimile [Coop Zurich]
Facsimile [Coop Zurich]
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This facsimile catalogue of products from a Zurich Coop supermarket appears to extend a project that the duo initiated two years earlier, in 1991, as part of Küchenausstellung (The Kitchen Show), Hans Ulrich Obrist’s first ...
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Facsimile [Coop Zurich]
Peter Fischli, David Weiss
1993
St. Gallen: Hans-Ulrich Obrist
Unpaginated [16 pages]
20.3 × 29.5 cm
Edition of 160; signed and numbered 144/160

This facsimile catalogue of products from a Zurich Coop supermarket appears to extend a project that the duo initiated two years earlier, in 1991, as part of Küchenausstellung (The Kitchen Show), Hans Ulrich Obrist’s first curatorial project:


 


“One conviction I had was that it could be interesting to do something smaller, after the gigantism of some of the 1980s art scene which seemed unsustainable after the crash of 1987. [...] It was a way of making a sprawling exhibition that also took visitors on a domestic tour of the city. And then both Fischli and Weiss and Christian Boltanski suggested to me that perhaps I was looking too hard, that the solution could be in my own flat, as with the Edgar Allan Poe story ‘The Purloined Letter.’ And we began to think, and an answer occurred to us: my kitchen,” Obrist recalls in a 2014 article for The Paris Review.


 


For The Kitchen Show, Fischli/Weiss photographed Obrist’s kitchen shelves, filling the cupboard above the sink with cans and packets of food purchased from a local grocer. As Ileana Parvu notes in “The reproduction of objects” (Sciences Po – Arts & Sociétés, no. 118), the intervention allowed the domestic space to become an exhibition space without relinquishing its everyday function. Rather than explicitly critiquing consumer culture, it introduced its visual and material language into the context of art.


 


The 1993 facsimile similarly transforms a common commercial document into an object of artistic and curatorial inquiry. Its attention to the aesthetics of everyday consumerism resonates with Fischli/Weiss’s practice while echoing Obrist’s ongoing interest in curating through acts of selection and arrangement, particularly within unspectacular places.

St. Gallen: Hans-Ulrich Obrist
Unpaginated [16 pages]
20.3 × 29.5 cm
Edition of 160; signed and numbered 144/160

This facsimile catalogue of products from a Zurich Coop supermarket appears to extend a project that the duo initiated two years earlier, in 1991, as part of Küchenausstellung (The Kitchen Show), Hans Ulrich Obrist’s first curatorial project:

 

“One conviction I had was that it could be interesting to do something smaller, after the gigantism of some of the 1980s art scene which seemed unsustainable after the crash of 1987. [...] It was a way of making a sprawling exhibition that also took visitors on a domestic tour of the city. And then both Fischli and Weiss and Christian Boltanski suggested to me that perhaps I was looking too hard, that the solution could be in my own flat, as with the Edgar Allan Poe story ‘The Purloined Letter.’ And we began to think, and an answer occurred to us: my kitchen,” Obrist recalls in a 2014 article for The Paris Review.

 

For The Kitchen Show, Fischli/Weiss photographed Obrist’s kitchen shelves, filling the cupboard above the sink with cans and packets of food purchased from a local grocer. As Ileana Parvu notes in “The reproduction of objects” (Sciences Po – Arts & Sociétés, no. 118), the intervention allowed the domestic space to become an exhibition space without relinquishing its everyday function. Rather than explicitly critiquing consumer culture, it introduced its visual and material language into the context of art.

 

The 1993 facsimile similarly transforms a common commercial document into an object of artistic and curatorial inquiry. Its attention to the aesthetics of everyday consumerism resonates with Fischli/Weiss’s practice while echoing Obrist’s ongoing interest in curating through acts of selection and arrangement, particularly within unspectacular places.

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This facsimile catalogue of products from a Zurich Coop supermarket appears to extend a project that the duo initiated two years earlier, in 1991, as part of Küchenausstellung (The Kitchen Show), Hans Ulrich Obrist’s first curatorial project:

 

“One conviction I had was that it could be interesting to do something smaller, after the gigantism of some of the 1980s art scene which seemed unsustainable after the crash of 1987. [...] It was a way of making a sprawling exhibition that also took visitors on a domestic tour of the city. And then both Fischli and Weiss and Christian Boltanski suggested to me that perhaps I was looking too hard, that the solution could be in my own flat, as with the Edgar Allan Poe story ‘The Purloined Letter.’ And we began to think, and an answer occurred to us: my kitchen,” Obrist recalls in a 2014 article for The Paris Review.

 

For The Kitchen Show, Fischli/Weiss photographed Obrist’s kitchen shelves, filling the cupboard above the sink with cans and packets of food purchased from a local grocer. As Ileana Parvu notes in “The reproduction of objects” (Sciences Po – Arts & Sociétés, no. 118), the intervention allowed the domestic space to become an exhibition space without relinquishing its everyday function. Rather than explicitly critiquing consumer culture, it introduced its visual and material language into the context of art.

 

The 1993 facsimile similarly transforms a common commercial document into an object of artistic and curatorial inquiry. Its attention to the aesthetics of everyday consumerism resonates with Fischli/Weiss’s practice while echoing Obrist’s ongoing interest in curating through acts of selection and arrangement, particularly within unspectacular places.

St. Gallen: Hans-Ulrich Obrist
Unpaginated [16 pages]
20.3 × 29.5 cm
Edition of 160; signed and numbered 144/160

This facsimile catalogue of products from a Zurich Coop supermarket appears to extend a project that the duo initiated two years earlier, in 1991, as part of Küchenausstellung (The Kitchen Show), Hans Ulrich Obrist’s first curatorial project:

 

“One conviction I had was that it could be interesting to do something smaller, after the gigantism of some of the 1980s art scene which seemed unsustainable after the crash of 1987. [...] It was a way of making a sprawling exhibition that also took visitors on a domestic tour of the city. And then both Fischli and Weiss and Christian Boltanski suggested to me that perhaps I was looking too hard, that the solution could be in my own flat, as with the Edgar Allan Poe story ‘The Purloined Letter.’ And we began to think, and an answer occurred to us: my kitchen,” Obrist recalls in a 2014 article for The Paris Review.

 

For The Kitchen Show, Fischli/Weiss photographed Obrist’s kitchen shelves, filling the cupboard above the sink with cans and packets of food purchased from a local grocer. As Ileana Parvu notes in “The reproduction of objects” (Sciences Po – Arts & Sociétés, no. 118), the intervention allowed the domestic space to become an exhibition space without relinquishing its everyday function. Rather than explicitly critiquing consumer culture, it introduced its visual and material language into the context of art.

 

The 1993 facsimile similarly transforms a common commercial document into an object of artistic and curatorial inquiry. Its attention to the aesthetics of everyday consumerism resonates with Fischli/Weiss’s practice while echoing Obrist’s ongoing interest in curating through acts of selection and arrangement, particularly within unspectacular places.

MORE BOOKS

This facsimile catalogue of products from a Zurich Coop supermarket appears to extend a project that the duo initiated two years earlier, in 1991, as part of Küchenausstellung (The Kitchen Show), Hans Ulrich Obrist’s first curatorial project:

 

“One conviction I had was that it could be interesting to do something smaller, after the gigantism of some of the 1980s art scene which seemed unsustainable after the crash of 1987. [...] It was a way of making a sprawling exhibition that also took visitors on a domestic tour of the city. And then both Fischli and Weiss and Christian Boltanski suggested to me that perhaps I was looking too hard, that the solution could be in my own flat, as with the Edgar Allan Poe story ‘The Purloined Letter.’ And we began to think, and an answer occurred to us: my kitchen,” Obrist recalls in a 2014 article for The Paris Review.

 

For The Kitchen Show, Fischli/Weiss photographed Obrist’s kitchen shelves, filling the cupboard above the sink with cans and packets of food purchased from a local grocer. As Ileana Parvu notes in “The reproduction of objects” (Sciences Po – Arts & Sociétés, no. 118), the intervention allowed the domestic space to become an exhibition space without relinquishing its everyday function. Rather than explicitly critiquing consumer culture, it introduced its visual and material language into the context of art.

 

The 1993 facsimile similarly transforms a common commercial document into an object of artistic and curatorial inquiry. Its attention to the aesthetics of everyday consumerism resonates with Fischli/Weiss’s practice while echoing Obrist’s ongoing interest in curating through acts of selection and arrangement, particularly within unspectacular places.

MORE BOOKS