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Lot Essay
Full of references to the everyday, Pipilotti Rist's installations take on very familiar appearances. These stage-like settings, derived from everyday contemporary culture, facilitate our understanding of the Swiss artist's complex works of art, making them accessible to a broad audience from various generations. The viewer easily identifies with Rist's works; his personal and collective emotions and experiences seem to be projected onto the work along with the videos.
Rist's installations are characterised more than anything else by their totally intermedial nature, combining elements from art, fashion, music, television and pop culture in general. By embracing the techno-culture of the late 20th century, Rist transfers the global multi-culturalism and liberal openmindedness of the club scene onto the elitist world of contemporary art. This is a subtle process of political correctness that is less provocative than it is evocative. Rist argues: 'Messages that are conveyed emotionally and sensuously can break up more prejudices and habitual behaviour patterns than umpteen pamphlets and intellectual treatises.' (In: B. Riemschneider and U. Grosenick (eds.), 'Art at the Turn of the Millennium, Cologne 1999, p.426.)
Rist's installations are characterised more than anything else by their totally intermedial nature, combining elements from art, fashion, music, television and pop culture in general. By embracing the techno-culture of the late 20th century, Rist transfers the global multi-culturalism and liberal openmindedness of the club scene onto the elitist world of contemporary art. This is a subtle process of political correctness that is less provocative than it is evocative. Rist argues: 'Messages that are conveyed emotionally and sensuously can break up more prejudices and habitual behaviour patterns than umpteen pamphlets and intellectual treatises.' (In: B. Riemschneider and U. Grosenick (eds.), 'Art at the Turn of the Millennium, Cologne 1999, p.426.)