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Since the mid-1980s, Rist has explored the sensory, emotional, and psychological dimensions of moving image, often merging saturated colour, dreamlike imagery, and layered sound to create enveloping experiences. Her practice engages with the body, nature, and technology as intertwined sites of pleasure, vulnerability, and critique, frequently addressing themes of femininity, sexuality, and the subconscious. Through her innovative approach to scale and projection, Rist transforms spaces into fluid, meditative landscapes that collective immersion.
Pipilotti Rist loves beets. Her focus is on video and audio installations. She wants to be kind and is a little autistic. She likes machines and children. She says: The task of art is to contribute to evolution, to encourage the mind, to ensure a distanced view of social change, to summon positive energies, to stimulate the senses and sensuality, to reconcile reason and instinct, to explore possibilities, and to destroy clichés and prejudices.
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Editorial
Biography
Pipilotti Rist (b. 1962) is a video and installation artist whose work spans experimental film, large-scale immersive environments, and spatial interventions. Since the mid-1980s, Rist has explored the sensory, emotional, and psychological dimensions of moving image, often merging saturated colour, dreamlike imagery, and layered sound to create enveloping experiences. Her practice engages with the body, nature, and technology as intertwined sites of pleasure, vulnerability, and critique, frequently addressing themes of femininity, sexuality, and the subconscious. Through her innovative approach to scale and projection, Rist transforms spaces into fluid, meditative landscapes that invite collective immersion.
Exhibitions
The exhibition explores the concept of the permacrisis and how radical acceptance and rage may be interconnected.
Taking a cue from the medium, the exhibition teases out deeper questions of visual consumption and creation, not only of the images we ingest, but also the countless worlds and realities reinforced by film. Some might argue the line between public and private has entirely dissolved through micro-videos and a cadence of clickbait. Then, perhaps, our sense of crisis is magnified by a medium and culture of hyper-real image making.