Fischli and Weiss Book

*A chapter made of questions written by the artists, complimented with the writers answers to them. The moral of the work was that there are so many questions with no or inacurate answers. Art is about asking questions.

*Presented with a beautiful narrative piece about how he was first full of straw and wished for a more exciting life away from the mountains where he lived. One day a bank robber came and stole him, drove him down to the city where he stuffed him with money and left him in a cellar where he was too heavy to move and unhappy.
This reminds me so much of me wanting a better life for myself and going to "the city" to be an artist, being commercially successful, rich but not happy. It doesn't say whether the narrative was with the piece when exhibiting, but if it wasn't, it shows how much the publications to a piece can change the way viewers interact. I am only experiencing Fischli and Weiss from books, and how they are documented and portrayed play a massive role in how I am receiving them.*
*I'm attracted to the throw away element in these pieces. The simplicity of a human being represented as a fag butt is beautiful. The situation in the photo itself is harlarious. It looks rediculous but it makes sense. you can imagine an actual car crash looking like this. This type of work requires such a high level of sensitivity, and acute observation. *
* I find myself thinking along the same lines as the Agnes Dene's piece when I look at this; in terms that when she documented her final piece, it wasn't obvious enough so she added her drawing. To me the photo of the piece is the piece of work. If it was the sausages themselves I don't think it would be as powerful. The angle of the shots is just as important as the sausages themselves. I lack this in my work. The ability to decide how best to present something for what I want it to say.*

*My favourite piece out of the whole book, strangely the once I have least to write about for now*

Henrik Håkansson - Fallen Forrest.


*When a person views a landscape they see it horizontal with the frame of their eyes as a viewpoint. Fischli and Weiss's works enable us to experience landscape from a different viewpoint, looking down. This concept also came up when I viewed a piece at the Barbican by Henrik Håkansson - Fallen Forrest.

* When reading about these first I didn't quite understand what it was about, but after reading about their garden and landscapes photography I began to understand them. They create things which are so close to actual reality that it's almost a question of whether it is art, but it is. These airport photos aren't searching for anything more than what they are. The garden was literally just a garden they had created, so what is it about them that makes them art? It reminds me of when you imagine situations in your head, for a future scenario; for it to be perfect, spot lights on you, like in a film trailer, but when these events come round, they just end up no where near your expectations and reality is never how you imagine it will be.
Creating these photos and situations are art because it's purpose is it be art. A viewer would never be allowed to just walk into an allotment and if they did, they still wouldn't look it with the act of looking. Creating these art things makes us really look at the situations around us in more detail.*