Copyright: © Peter Fischli and the estate of David Weiss, courtesy Matthew Marks Gallery, New York | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: These three monitors showing idyllic nature scenes comprise "Visible World" by Peter Fischli. There's something about these commonplace landscapes presented on outmoded technology that feels poignant. Editor: There is a definite contrast between the serene images and the bulky monitors, which feels very self-aware. The older technology gives a sense of nostalgia, almost like windows into past memories. Curator: That resonance with memory certainly plays into it. The screens offer a glimpse of a world outside the institutional architecture. Fischli seems to be commenting on the very act of viewing. Editor: These landscapes could be anywhere, yet each seems imbued with unique feeling. The sunset, the harbor, the mountains... archetypes of beauty, viewed through the lens of technology. Curator: And, of course, Fischli, like many artists of his generation, uses technology to explore art's role in contemporary culture and its influence on our perceptions of nature. Editor: It gives a powerful sense of the ubiquity of these images, and their cultural significance. We are reminded of the enduring power of nature, but we see it through a mediated lens.
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http://www.tate.org.uk/art/artworks/fischli-weiss-visible-world-t07885
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Visible World is a three-monitor video installation. Each wide-screen monitor displays a different two-hour video. The work consists of four videos in total, and they are screened in random sequence. The images on the three screens are not synchronised. The piece was produced in Switzerland in an edition of six and it was first shown in single-screen format during Documenta X in 1997, when it was screened on an eight-hour loop on the arts channel ARTE-TV.