Rist, Pipilotti

▪ 2001

      As art critics proclaimed, 2000 was the year that Swiss video installation artist Pipilotti Rist “arrived.” The year marked her first solo debut at two major North American venues, the Museum of Fine Arts in Montreal and the Luhring Augustine Gallery in New York City. Rist had been described as “emerging” ever since she won the Premio 2000 Prize at the Venice Biennale in 1997; in March 2000, however, the Toronto Globe and Mail newspaper reported that it was “time to change that designation,” as “her promise is clearly being filled.” The year marked a flurry of media interest in her provocative, often humorous, but always stylish work, and she was dubbed “the irreverent icon of the multimedia world” and “the siren of the 21st century.” Her stature was underpinned by her role as artistic director of Expo Schweiz 01, the megasize world exhibition planned for 2001 in Neuchâtel, Switz.

      Born Charlotte Rist on June 21, 1962, in the Swiss village of Grabs, she later changed her name to Pipilotti, a fusion of the energetic larger-than-life storybook heroine Pippi Longstocking and her own nickname, Lotti. She attended the Institute of Applied Arts in Vienna and the School of Design in Basel, Switz., where her first experiments were with animated cartoons and scenery for pop music concerts. She also played drums and bass in an all-girl rock band, Les Reines Prochaines (“The Next Queens”). By the late 1980s she was producing vivid and slickly made videos; in her earliest production, I'm Not the Girl Who Misses Much (1986), Rist starred as a hysterical blonde bobbing around in a revealing black dress. Following her first exhibition in 1989, her credits included shows at Chicago's Museum of Contemporary Art, Amsterdam's Stedelijk Museum, and Berlin's National Gallery. In 1998, as one of six finalists for the Hugo Boss Prize, her Sip My Ocean (1996) was shown at the Guggenheim Museum SoHo in New York City.

      She was renowned for bridging the gulf between popular culture and art and for fusing the various art disciplines. Her work drew deliberately on MTV-style pop music videos, but she added a reflective element of her own—she described pain and innocence as two favoured themes. “Art is already the ultimate multidisciplinary field,” she commented, a medium through which she could explore the “feelings and emotions of telling stories.” Her installations captured the many contradictions and anxieties of modern society. In Ever Is Over All (1997), she skips down a street smashing windshields on cars with a flowerlike wand while a policewoman looks on benignly. For Selfless in a Bath of Lava (1994), she removed a knot from a wooden floorboard in the P.S.1 gallery space in downtown Manhattan and installed in its place a tiny video screen on which ran indefinitely a minuscule filmed version of herself, shrieking to be let out.

Siobhan Dowd

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▪ video installation artist

original first name  Charlotte 

born June 21, 1962, Grabs, Switz.

      video installation artist known for her provocative, often humorous, but always stylish work. (The name Pipilotti is one of her own creation, a fusion of her nickname, Lotti, with that of the energetic, larger-than-life storybook heroine Pippi Longstocking in the eponymous work by Swedish writer Astrid Lindgren (Lindgren, Astrid).)

      Rist attended the Institute of Applied Arts in Vienna and the School of Design in Basel, Switz., where her first experiments were with animated cartoons and scenery for pop music concerts. From 1988 to 1994 she also played drums and bass in an all-girl rock band, Les Reines Prochaines (“The Next Queens”). In I'm Not the Girl Who Misses Much (1986), her first production, Rist starred as a hysterical brunette singing an altered line from a Beatles song. By the late 1980s she was producing vivid and slickly made videos. In the 1990s she exhibited at a number of major venues, including the Museum of Contemporary Art in Chicago, the Stedelijk Museum in Amsterdam, and the National Gallery in Berlin. In 1998 she was one of six finalists for the Hugo Boss Prize (an award administered every two years by the Guggenheim Foundation for significant achievement in contemporary art), and her single-channel video installation Sip My Ocean (1996) was shown at the Guggenheim Museum SoHo in New York City. The following year, with Ever Is Over All (1997), she won the Premio 2000 Prize at the Venice Biennale. The work consists of two projections on adjacent walls; one channel moves through a field of red flowers, while the other shows a woman with a long-stemmed flower smashing the windows of cars parked on the street.

      Rist was renowned for bridging the gulf between popular culture and art and for merging various mediums. Her work drew deliberately on MTV-style pop music videos, but she added a reflective element of her own—pain and innocence were two of her favoured themes. Her installations captured the many contradictions and anxieties of modern society. For Selfless in a Bath of Lava (1994), for example, she removed a knot from a wooden floorboard in the P.S.1 (P.S. 1) gallery space and installed in its place a tiny video screen on which played a film loop picturing the artist, shrieking to be let out.

Siobhan Dowd

 

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