Pipilotti Rist, Das Zimmer, 1994, Installation im Kunstmuseum St.Gallen, Photo: Stefan Rohner, Courtesy die Künstlerin, Hauser & Wirth und Luhring Augustine.

Pipilotti Rist, Selflessly in Lavabad (Selbstlos im Lavabad), 1994.

Pipilotti Rist, Hiplights or Enlighted Hips, 2011.

Pipplotti Rist's First Retrospective in Her Swiss Homeland

Piplotti Rist, I'm Not The Girl Who Misses Much, 1986.

Piplotti Rist, I'm Not The Girl Who Misses Much, 1986.

Piplotti Rist, I'm Not The Girl Who Misses Much, 1986.

Pipilotti Rist, Interpreted as the St. Gallen Animatria (Interpretiert als St.Galler Antimateria), 2012.

Pipilotti Rist, Perlen der Zeit (Sip My Ocean), 1994-2012, installation view.

Pipilotti Rist, Birth is Random, (Geburtsort ist Zufall), 1994

Pipilotti Rist, TV-Lüster, 1993.

 

Kunstmuseum St. Gallen
Museumstrasse 32
+ 41 71 242 06 71
St. Gallen
Pipilotti Rist
Blutbetriebene Kameras und quellende Räume (Blood-Powered Cameras and Swelling Rooms)

June 2-November 25, 2012

"Meine Augen (türkis) sind 2 blutgetriebene Kameras. Je offener und knallharter wir den andern Menschen in die Augen schauen, desto brillanter werden die Bilder."

— Pipilotti Rist

Mit ihren farbenfrohen Bildwelten und wild wuchernden Installationen hat Pipilotti Rist die Welt der Kunst erobert. Geboren 1962 in Grabs im St.Galler Rheintal, gilt sie inzwischen als wegweisende Figur der zeitgenössischen Videokunst. 1994 fand im Kunstmuseum St.Gallen unter dem Titel I’m Not The Girl Who Misses Much — Ausgeschlafen, frisch gebadet und hochmotiviert im Rahmen des MANOR-Kunstpreises ihre erste Museumsausstellung statt, die anschliessend in der Neuen Galerie in Graz und im Kunstverein Hamburg gezeigt wurde und den Beginn einer unvergleichlichen Künstlerinnenlaufbahn markierte. Ausstellungen in bedeutenden Häusern weltweit folgten: 1998 im Hamburger Bahnhof, Berlin, 2001 im Museo Nacional Centro de Arte Reina Sofía, Madrid, 2007 im Centre Georges Pompidou in Paris und im Magasin 3, Konsthall Stockholm und 2008 im Museum of Modern Art, New York. 2005 realisierte die Künstlerin in Zusammenarbeit mit dem Architekten Carlos Martinez in St.Gallen die Stadtlounge. Im gleichen Jahr vertrat sie die Schweiz an der 51. Biennale von Venedig. 2008 kam ihr erster abendfüllender Spielfilm Pepperminta in die Kinos.

Pipilotti Rist beschäftigt sich seit jeher mit der visuellen und auditiven Beschreibung der Gefühle, welche Bilder und Töne ergeben, „wenn du berührt wirst oder wenn du jemanden berührst“ (Rist). Die beinahe malerische Behandlung und die raumgreifende Inszenierung ihrer Videos sind ebenso charakteristisch für ihre unverwechselbare künstlerische Sprache wie spektakuläre Kamerafahrten und sich überschlagende Bilder, die zusammen mit technischen Verfremdungen und assoziativen Montagen in traumartigen Sequenzen in einen alles umfassenden leuchtend farbigen Bilderstrom münden. Raffiniert befragt die Künstlerin dabei den vermeintlichen Wirklichkeitsgehalt des Mediums Video und schafft zugleich ihre eigenen sinnlichen Bildräume, in die man eintauchen und in denen man einzigartige Glücksgefühle erleben kann: „Video ist die Synthese von Musik, Sprache, Malerei, Bewegung, ‚miesen-fiesen’ Bildern, Zeit, Sexualität, Erleuchtung, Hektik und Technik. Das ist das Glück des Fernsehschauenden und der Videokünstler.“ (Rist) Dazu merkt Stephanie Rosenthal treffend an: „Rist verführt ihr Publikum, den eigenen Gedanken zu folgen, die inneren Bilder in Fluss zu bringen und die Perspektive auf die Welt zu verschieben, neue Facetten zu entdecken. Wie einen Freund nimmt sie uns bei der Hand und schärft unsere Aufmerksamkeit.“

Die Ausstellung Blutbetriebene Kameras und quellende Räume entstand in enger Zusammenarbeit mit der Künstlerin eigens für die Räume des Kunstmuseums St.Gallen und wurde in Kooperation mit der Londoner Hayward Gallery und der Kunsthalle Mannheim realisiert. Sie führt ausgewählte Einkanalvideoarbeiten aus den Anfangsjahren ihrer bildkünstlerischen Recherchen zusammen mit bedeutenden frühen Installationen wie Eine Spitze in den Westen — ein Blick in den Osten (1992), in der die Besucher gewissermassen eins werden mit dem raffiniert gestalteten Projektionsobjekt, oder Selbstlos im Lavabad (1994). Mit der hierzulande erstmals ausgestellten raumgreifenden Installation Administrating Eternity (2011) und dem speziell für die Ausstellung geschaffenen Farblabor im Nordostraum gewährt die Ausstellung zudem Einblicke in ihr aktuelles Schaffen, in dem sie ihre Forschungen auf dem Gebiet der Augapfelmassage für uns entscheidend weitertreibt — und selbst in den Aussenraum des Museums erweitert. Mit einer konzisen Werkauswahl verwandelt Pipilotti Rist das Kunstmuseum St.Gallen in eine ebenso präzis gesetzte wie wundersam choreographierte Landschaft für sinnliche Körper — und Raumerfahrungen. Blutbetriebene Kameras und quellende Räume ist Pipilotti Rists erste retrospektiv angelegte Werkschau in der Schweiz — und zugleich eine vorübergehende Rückkehr der Künstlerin in ihre Heimat.

Kurator: Konrad Bitterli

Pipilotti Rist, Lip Service (Lippenbekenntnis), 2012.

Pipilotti Rist, 2012, Foto Stefan Rohner.

Pipilotti Rist, A Beautiful Star (A la belle étoile), 2007.

Pipilotti Rist, A Beautiful Star (A la belle étoile), 2007.

Pipilotti Rist, A Look to the East (Eine Spitze in den Westen – ein Blick in den Osten), 1992-1999.

Pipilotti Rist, Administrating Eternity, 2011.

Pipilotti Rist, Hiplights or Enlighted Hips, 2011.

Pipilotti Rist, Sip My Ocean, 1996, audio video installation (video still), Courtesy the artist and Hauser & Wirth.

Pipilotti Rist, Lobe Of The Lung, 2009, Audio video installation by Pipilotti Rist (video still), Courtesy the artist, Hauser & Wirth and Luhring Augustine, New York.

Pipplotti Rist's Survey Exhibition at Fundació Joan Miró

Pipilotti Rist, Tomb Stone for RW, 2004, Installation view at Museum Bellerive Zürich, Photo: Käthe Walser, Courtesy the artist and Hauser & Wirth.

Pipilotti Rist, Lobe Of The Lung, 2009, Installation view at Boijmans van Beuningen, Photo by Ernst Moritz, Courtesy the artist, Hauser & Wirth and Luhring Augustine, New York.

Pipilotti Rist, Gina's Mobile, 2007, Installation view at Studio Zürich. Photo by Stefan Altenburger, Courtesy the artist and Hauser & Wirth.

Pipilotti Rist, Rain Woman (I Am Called A Plant), 1999, Installation view at Musée d'Art Moderne de la Ville de Paris, Photo by Marc Domage, Courtesy the artist and Hauser & Wirth.

Pipilotti Rist, Why Are You Going? (wet), 2003, video installation (video still), Courtesy the artist ans Hauser & Wirth.

Pipilotti Rist, Why Are You Going? (wet), 2003, Installation view at International Art festival 2004, Lofoten, Norway, Photo by Käthe Walser, Courtesy the artist ans Hauser & Wirth.

 

Fundació Joan Miró
Parc de Montjuïc s/n
+ 34 934 439 470
Barcelona
Pipilotti Rist
Friendly Game – Electronic Feelings

July 8-November 1, 2010

Pipilotti Rist was awarded the 2009 Joan Miro Prize for her wide-ranging creative curiousity and her outstanding contribution to the current art scene.

The jury’s decision was based on the fact that "over the last 20 years Pipilotti Rist has never ceased to surprise and provoke us with her artistic explorations that delve into psychic and aesthetic landscapes, while penetrating the deepest strata of both the personal and collective consciousness, often straddling them both in a forceful and elusive manner.”

Fundació Joan Miró and Fundació Caixa Girona present Friendly Game – Electronic Feelings, an exhibition by Pipilotti Rist, winner of the 2009 Joan Miro Prize. The show is organised by Miro Foundation and sponsored by Fundació Caixa Girona with the support of writer and art collector, Han Nefkens.

Friendly Game – Electronic Feelings is the artist’s most extensive exhibition ever presented in Spain. The show comprises thirteen installations — ten at the Fundació Joan Miró and three at the Centre Cultural de Caixa Girona—presenting a broad view of Pipilotti Rist’s artistic trajectory to date.

Two of Pipilotti’s works presented at the Fundació, Doble llum (Double Light), and Temps lliure (Free Time), were created especially for this exhibition. The first offers a dialogue between Rist and Joan Miró through a video projection on Miró’s sculpture, Femme, dating from 1968 and a part of the Fundació’s permanent collection. This piece is Han Nefkens’ first donation of an artwork to Spain and will become part of the Fundació Miró’s collection. Temps lliure, the other work created for this exhibition, is a forest of words that, in the artist’s words, "...tries to clean the visitor’s brain." Because Rist always names her works in the language of the country in which they are first shown, both pieces are titled in Catalan.

Pipilotti Rist (Grabs, Switzerland, 1962) has shown her works in museums around the world, including the Centre Georges Pompidou in Paris, the MoMA in New York and Rotterdam’s Boijmans Van Beuningen Museum. Rist’s first feature-length film, Pepperminta, premiered in September 2009. Included among the artist’s forthcoming works is a ceiling piece for Jean Nouvel’s building in Vienna (Praterstrasse 1), scheduled to open in October 2010.

Accompanying the exhibition is a book also titled Friendly Game – Electronic Feelings, produced by Han Nefkens and designed by Thomas Rhyner of the Atelier Rist. The book includes photographs of the artist’s works shown in both museum spaces together with poems by Pipilotti Rist and texts by Martina Millà, Han Nefkens and Karin Seinsoth.

This exhibition submerges us in Rist’s colourful universe. The exhibition begins with two small video installations, Porqué te vas? (nass) (Why Are You Going? [Wet]) (2003) and Grabstein für RW (Tombstone for RW) (2004), and then moves on to one of the artist’s best-known works, Sip My Ocean (1996). This piece uses two walls that meet in a corner of the room, serving as large screens onto which are projected an underwater scene with people swimming around to the sound of Pipilotti Rist’s hypnotic voice singing Chris Isaak’s Wicked Game. This work speaks about our deep lifelong wish to understand each other completely and our nearly impossible desire to be synchronic.

In Tyngdkraft, var min vän (Gravity, Be My Friend) (2007), people and leaves float in space. The title is an invitation to reflect on the force of gravity while lying back and watching the projections on two amorphous ceiling panels. Do we see and hear differently when our muscles are relaxed?

The next installation in the exhibition is Ginas Mobile (Gina’s Mobil) (2007), a mobile formed by a branch, a copper globe and a plexiglass tear, across which projections of large-scale vulvas travel; because of the uncommon paleness of the images, they are not easy to recognise and thus are deprived of their usual connotations. Here the artist gently questions social fears and taboos.

Lungenflügel (Lobe Of The Lung) (2009) is a three-wall installation. The footage is linked with the artist’s first feature film, Pepperminta. The shots show Pepperminta (Ewelina Guzik), the protagonist in Rist’s recent works, interacting with nature in a search for analogies and contradictions between human and animal life.

The following installation, Regenfrau (I Am Called A Plant) (Rain Woman [I Am Called A Plant]) (1999), also addresses the subject of communion with nature. In this case the artist contrasts organic life, represented by a naked vulnerable body lying on the street in the rain, with the domesticity and sterility of an immense kitchen, onto which the video is projected.

The show ends with À la belle étoile (Under The Sky) (2007), a projection onto the museum floor, and with Doble llum, the work that will remain a part of the Fundació Joan Miró’s permanent collection.

Pipilotti Rist is also showing three works at Fontana d’Or, in Girona. The first is Ever Is Over All (1997), two overlapping projections that show a field of red flowers and, respectively, a woman happily walking down the street. She is brandishing one of the flowers and with it breaks the windows of cars parked along the sidewalk as though that were a normal, everyday activity. The installation addresses stereotypical ideas of property and rules of behaviour. The cars stand for obstacles that are all too seldom questioned.

Lap Lamp (2006) is a video installation using a standing lamp that projects a tree-filled field, broken wood and nettles onto the visitor’s lap, caressing her/him. The work is a face-off between the rigidity of physical confinement and the desire for psychological freedom.

And lastly, Deine Raumkapsel (Your Space Capsule) (2006) is a work that looks like a shipping box from outside. But within it is a miniature bedroom, seemingly recently abandoned, with a star-filled sky and an emerging moon on the walls. A video projection moves over the walls showing slow-motion sequences of people of all ages interacting with each other, against the background sounds of wind and sacred music.

Pipilotti Rist, Rain Woman (I Am Called A Plant), 1999, installation (video still).

Pipilotti Rist, Lobe Of The Lung, 2009, Audio video installation by Pipilotti Rist (video still), Courtesy the artist, Hauser & Wirth and Luhring Augustine, New York.

Pipilotti Rist, Gravity be my friend, 2007, Audio visual installation, Photo: Johan Warden, Courtesy the artist and Hauser & Wirth, Zurich and London.

Pipilotti Rist, Videostill, Courtesy the artist and Hauser & Wirth.

Pipplotti Rist's Dream Living Room Abounding with Images

Enlight My Space  Erleuchte (und kläre) meinen Raum, 2008, Videoinstallation by Pipilotti Rist, 40 x 130 x 35 cm, Courtesy the artist and Hauser & Wirth, Photo: A. Burger, Zürich.

Enlight My Space  Erleuchte (und kläre) meinen Raum, 2008, Videoinstallation by Pipilotti Rist, 40 x 130 x 35 cm, Courtesy the artist and Hauser & Wirth, Photo: A. Burger, Zürich.

Courtesy the artist and Hauser & Wirth.

 

Hauser & Wirth Zürich
Limmatstrasse 270
+ 41 (0)44 446 80 50
Zürich
Pipilotti Rist
August 29-October 17, 2009

Pipilotti Rist creates a domestic fantasy for her exhibition at Hauser & Wirth Zürich. The ground floor galleries are transformed by the artist into her dream living room — a space where walls, floors, and furnishings are alive with images. Rist’s video installations take many guises. She has likened them in the past to handbags, "because there is room in them for everything: painting, technology, language, music, lousy flowing pictures, poetry, commotion, premonitions of death, sex and friendliness." From this versatile, capricious medium Rist draws inner and outer worlds of kaleidoscopic colour and wonderment.

Lightboxes, intricate "video-objects" and still images printed on a variety of materials in the room fabricate a multi-layered interior: a living space that opens up to reveal other vistas. Within this she creates an arena in which the viewer is invited to dance. Music and light effects cohabit with domestic furnishings to form a "living room disco" — a concept that the artist would like visitors to apply to their own homes. Her art conjures positive energies for social change, dissolving boundaries between public and private space. The imagery in the installation mostly comes from footage the artist shot during the making of her first feature film Pepperminta (2009), which will launch in Switzerland in September. It is as if, Rist has said, 'the film came into the room and deposited itself within.' This pollination of a screen fiction into the viewer’s physical surroundings is typical of her works that marry visual with haptic experiences and impart intellectual discovery through the senses. "I treat artworks as philosophical statements themselves," Rist has said, "expressed in a tool other than language."

Pleasure and humour are central to Rist’s work. Her heroine Pepperminta is an indomitable being who aims to free the world of fear. The bodies in her films are enticingly free. That they are female, and often her own, turns viewer into voyeur. Titles are propositions and incantations, encouraging a fuller engagement with life: the gigantic immersive installation Pour Your Body Out (7354 Cubic Metres) 2008-2009, solicited and received physical participation from the thousands of people who visited it in MoMA’s Marron Atrium. Operating on an entirely different scale, in this exhibition Enlight My Space, 2008, a shelf filled with bric-a-brac, is intimate and fragile, incorporating a book laid open at a cross-sectional illustration of a pregnant woman; its title combining with the piece’s material components and flickering projected image to form a tender meditation on how what we let inside can utterly transform one’s life.

Large or small, unifying or splintering into a host of different elements, Rist’s installations are expansive, finding in the mind and body the possibility of endless discovery. She explains: "The idea is that now we’ve explored the whole geographical world, pictures or films are the new, unexplored spaces into which we can escape."

The feature film Pepperminta will be launched in cinemas on 10 September.

Pipilotti Rist (b. 1962) lives and works in Zürich and the mountains of Switzerland. Since emerging on the international art scene in the mid-1980s, Rist has had numerous solo and group exhibitions and is one of the most celebrated video artists working today. In 1997 she was awarded the Premio 2000 for outstanding achievement at the Venice Biennale for her audio video diptych, Ever is Over All, 1997. She represented Switzerland at the 51st International Biennale di Venezia in 2005. Recent solo presentations of her work include À la belle étoile, Centre Pompidou, Paris (2007); Gravity Be My Friend, Magasin 3 Stockholm Konsthall (2007); YuYu, MIMOCA Marugame Genichiro-Inokuma Museum of Contemporary Art (2008); Pour Your Body Out (7354 Cubic Metres), MoMA, New York (2008-2009); and Elixir: the Video Organism of Pipilotti Rist, Museum Boijmans Van Beuningen, Rotterdam (2009), which will travel to KIASMA Museum for Contemporary Art, Helsinki, in September. An exhibition at Paço das Artes and MIS Museu da Imagem e do Som, Sao Paulo, opens in October. She recently was awarded the Joan Mirò Prize 2009 for her wide-ranging creative activity and her outstanding contribution to the current artistic scene.

Pipilotti Rist, I Never Taught In Buffalo, 2000-2003, Digital photomontage plotted on wallpaper, Dimensions variable, Courtesy the artist and Hauser & Wirth.

Pipilotti Rist, Videostill, Courtesy the artist and Hauser & Wirth.

Pipilotti Rist (Switzerland, 1962), Tyngdkraft, var min vän (Gravity Be My Friend), 2007, Audio video installation (video still), Courtesy the artist, Hauser & Wirth Zürich London and Luhring Augustine, New York.

Pipilotti Rist (Switzerland, 1962), I'm Not The Girl Who Misses Much, 1986, Video (video still), © Pipilotti Rist, Courtesy Hauser & Wirth.

Pipplotti Rist: The Visual Spectacle as Sensory Experience

Pipilotti Rist (Switzerland, 1962), Tyngdkraft, var min vän (Gravity Be My Friend), 2007, Audio video installation, installation view at Magasin 3, Stockholm/SE, Photo by Johan Warden, Courtesy the artist, Hauser & Wirth Zürich London, and Luhring Augustine, New York.

Pipilotti Rist (Switzerland, 1962), Homo Melting Touching Homo (Homo schmelzend berührend Homo), 2005, Video still, ink jet print on hand-made paper, © Pipilotti Rist, Courtesy Hauser & Wirth.

 

Museum Boijmans Van Beuningen
Museumpark 18-20
+ 31 (0)10 44.19.400
Rotterdam
Elixir:
The Video Organism of Pipilotti Rist

March 7-May 10, 2009

Museum Boijmans Van Beuningen in Rotterdam is devoting a major exhibition to the video artist Pipilotti Rist (Switzerland, 1962). The exhibition includes eight recent works made in the period 2003-2008, and two completely new ones which have been especially made on this occasion. The videos — sumptuous images of beauty and innocence – will be displayed in a 1500m2 installation, a Gesamtkunstwerk designed by the artist and her team.

Pipilotti Rist has designed a system of transparent walls that lead the visitor through the video works. These include Tyngdkraft, var min vän (Gravity Be My Friend), Homo Sapiens Sapiens, and A Liberty Statue for Löndön, among others. The soundtracks — music and sounds composed by the artist in collaboration with Anders Guggisberg — complete Rist’s dream world.

Whether in intimate video works and objects or monumental museum installations, Pipilotti Rist transforms the visual spectacle into a total sensory experience. The exhibition at Museum Boijmans van Beuningen will include a new installation, which is linked with the material of her first long feature film ‘Pepperminta’ (release end of summer 2009). The first installation of this new cycle was designed for the atrium of the Museum of Modern Art New York. The shooting took place in Switzerland, Vienna/AT and in the Noordoostpolder/NL. She also creates a permanent video work in one of the monumental staircases of the museum in collaboration with H+F Patronage.

Since Pipilotti Rist made her debut as a video artist with her academy work I’m Not The Girl Who Misses Much in 1986, her work has been regarded as among the very best that contemporary art has to offer. Her ambiguous and provocative video works have delighted and surprised visitors at solo exhibitions and the Venice Biennale. The carefree atmosphere of her works serves to amplify the sense of apparent innocence and her brazen aesthetic. A key work in the exhibition is the self-interview Kleines Vorstadthirn (Small Suburb Brain), which Rist works on intermittently since 1999. It is a personal political statement of her position as an environmentally aware, socially engaged artist.

By working intensively with video Pipilotti Rist has more or less reinvented art. Her unique universe has the sensuality and depth of painting, but is created through enchanting video images and hallucinatory soundtracks. This is her paradise and she entices us to join her there. She employs ambitious techniques, such as the extreme close-ups with a fisheye lens, breath taking hand camera travelling and rhythmic poetical editing rather than a linear narrative.

The museum is publishing a richly illustrated catalogue exhibition to accompany the exhibition with essays by Paul Kempers, John Slyce, Catrien Schreuder and Emile Wennekes, designed by Irma Boom.

Pipilotti Rist (Switzerland, 1962), A la belle étoile, 2007, Audio video installation (video still), Courtesy the artist, Hauser & Wirth Zürich London and Luhring Augustine, New York.

Pipilotti Rist. Stills from Pour Your Body Out (7354 Cubic Meters). 2008. Multichannel video projection. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London.

Pipilotti Rist. Still from Pour Your Body Out (7354 Cubic Meters). 2008. Multichannel video projection. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London.

Pipilotti Rist Intervenes in MoMA's Atrium

Pipilotti Rist. Still from Pour Your Body Out (7354 Cubic Meters). 2008. Multichannel video projection. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London.

Pipilotti Rist. Still from Pour Your Body Out (7354 Cubic Meters). 2008. Multichannel video projection. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London.

 

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
The Donald B. and
Catherine C. Marron Atrium,
second floor
Pipilotti Rist:
Pour Your Body Out (7354 Cubic Meters)
November 19, 2008-February 2, 2009

Swiss artist Pipilotti Rist (b. 1962), best known for her lush multimedia installations that playfully and provocatively merge fantasy and reality, creates a site-specific monumental video, sound, and sculptural installation that will immerse MoMA's atrium in moving images for the first time. Multiple high definition projections comprise a panorama measuring 25 feet high and 200 feet in almost surround, turning the atrium into a gigantic pool of images filled with liquid volume of light and color. Visitors will be able to experience the work while walking through the space or sitting upon a sculptural seating island designed by the artist and Atelier Rist Sisters. Sound by Anders Guggisberg. Organized by Klaus Biesenbach, Chief Curator of Media, The Museum of Modern Art.

Pipilotti Rist was born Elisabeth Charlotte Rist June 21, 1962 in Grabs, Sankt Gallen, Switzerland. She lives and works in Zurich and Los Angeles. She was nicknamed Pipilotti (a reference to the novel Pippi Longstocking by Astrid Lindgren) as a child.

She studied at the Institute of applied Arts in Vienna, through 1986 and later studied video at the School of Design (Schule für Gestaltung) in Basel, Switzerland. In 1997 her work was first featured in the Venice Biennial, where she was awarded the Premio 2000 Prize.

From 1988 through 1994 she was member of the music band and performance group Les Reines Prochines.

Rist taught at UCLA from 2002 to 2003 as a visiting faculty member at the invitation of Paul McCarthy.

She currently lives with Balz Roth, with whom she has a son, named Himalaya.

During her studies Pipilotti Rist began making super 8 films. Her works generally last only a few minutes, and contained alterations in color, speed, and sound. Her works generally treat issues related to gender, sexuality, and the human body.

Her work, in contrast to that of many other conceptual artists, is colorful and musical transmitting a sense of happiness and simplicity.Rist's work is regarded as feminist by some art critics. Her works are included in many important art collections worldwide.

In I'm Not The Girl Who Misses Much (1986) Rist dances before a camera in a black dress with uncovered breasts. The images are often monochromatic and fuzzy. She repeatedly sings "I'm not the girl who misses much", a reference to the first line of the song Happiness Is a Warm Gun by John Lennon and Paul McCartney. As the video approaches its end, the image becomes increasingly blue and fuzzy and the sound stops.

Rist achieved notoriety with Pickelporno (1992), a work about the female body and the sexual exitation. A fisheye camera surveys the bodies of a couple. The ambiguous images are charged by strange, sensual, intense colors.

Ever is Over All (1997) shows in slow-motion a young woman (Rist) walks along a city street, smashing the windows of parked cars with a large hammer in the shape of a tropical flower. At one point a police officer greets her. The clip was purchased by Museum of Modern Art, New York City.

Rist's sixteen video segments titled Open My Glade were played once every hour on a screen on Times Square in New York City, a project of the Messages to the Public program, founded in 1980.

Pipilotti Rist. Still from Pour Your Body Out (7354 Cubic Meters). 2008. Multichannel video projection. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London.

Pipilotti Rist. Pour Your Body Out (7354 Cubic Meters) at the Museum of Modern Art. 2008. Multichannel video projection (color, sound), projector enclosures, circular seating element, carpet. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zurich London. Sketch by M. Huber Recabarren.