Eva Presenhuber presents iconic photographic works in Zurich
The First Art Newspaper on the Net    Established in 1996 Monday, October 6, 2025


Eva Presenhuber presents iconic photographic works in Zurich
Peter Fischli and David Weiss, Untitled (Funghi 30), 1998/2008. Inkjet colour print, framed, 74 x 107 cm / 29 1/8 x 42 1/8 in. Frame 76 x 109 x 3.5 cm / 29 7/8 x 42 7/8 x 1 3/8 in © Estate Peter Fischli David Weiss.



ZURICH.- Galerie Eva Presenhuber is presenting a series of exhibitions in its 3e étage showroom at Waldmannstrasse in Zurich. This second exhibition showcases photographic works by Doug Aitken, Peter Fischli David Weiss, Candida Höfer, and Torbjørn Rødland. The exhibition is complemented by a unique furniture piece by Franz West.

Beginning in the 1990s, artist and filmmaker Doug Aitken (b. 1968 in Redondo Beach, CA, US) has developed a boundary-defying multimedia oeuvre that both studies and leads into new art forms. Integrating film, sound, photography, sculpture, performance, happenings, and site-specific installations, Aitken’s immersive multimedia landscapes disrupt the conventions of the contemporary art world.

Peter Fischli (b. 1952 in Zurich, CH) and the late David Weiss (1946 – 2012 in Zurich, CH) began collaborating in 1979 and created a significant body of work, which combined, rearranged, and even manipulated their daily experiences into something new and unexpected. Employing various media, including unfired clay, rubber, photography, and video, Fischli Weiss managed to playfully fuse the two ends of high and low art during their three decades of collaboration.

Geographical references are an inherent part of Candida Höfer’s (b. 1944 in Eberswalde, DE) extensive œuvre. For more than 40 years, the artist has photographed the interiors of buildings, most accessible to the public, at times private ones as well, that are readily identifiable. Among them are museums, libraries, foyers, concert halls, bank archives, stages, and train station waiting rooms. Höfer’s interest is not in mere documentation; what drives her work is the differentiation of complex image subjects, the issue of light, and how spaces and architecture influence people.

Torbjørn Rødland’s (b. 1970 in Stavanger, NO) images are not created—and thus cannot be read—according to a single interpretive framework. They are dependent upon a willingness to wrestle with the diversity of life as a constantly evolving system of physical phenomena, emotional reaction, and cultural exchange. Sex and religion, tenderness and vulgarity, art and pop culture, intuition and intellect: they all commingle in Rødland’s work. Together, they create a world in which photography manages that which art is at its best: a game involving imagination, memory, and association that better captures our time than any other form of documentation.

Franz West (1946–2012 in Vienna, AT) was an internationally renowned sculptor who is considered one of the most influential artists of the past 50 years. He began to develop his works in the 1970s, centered around sculpture but also including drawing and collage. From the 1980s, West focused on art as something to use and communicate with by inventing the Passstücke—Adaptives. These are sculptures that can be touched and worn by the viewer, situating themselves somewhere in between a trap and a supporting device. West referred to them as incarnations of neurosis. In the following years, West produced a significant oeuvre of sculptures made of plaster and Papier-mâché, furniture, collages, and large-scale sculptures, which were often intended for public spaces.










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