Rube Goldberg-lančani sustavi variraju se u mnogim inačicama. Ova kinetička instalacija iz 1987. zanimljiva je zbog grubosti i banalnosti komponenata koje se međusobno pokreću i ruše: gume, ljestve, kante, kemikalije, stare cipele, vatra... Sustavi su sačinjeni od niza banalnih katastrofa. Lančana reakcija svakodnevnih objekata jedini je poredak.
The Way Things Go (German: Der Lauf der Dinge) is a 1987 art film by the Swiss artist duo Peter Fischli and David Weiss. It documents a long causal chain assembled of everyday objects, resembling a Rube Goldberg machine.
The art installation was in a warehouse, about 100 feet long, and incorporated materials such as tires, trash bags, ladders, soap, oil drums, old shoes, water, and gasoline. Fire and pyrotechnics were used as chemical triggers. The film is nearly 29 minutes, 45 seconds long, but some of that is waiting for something to burn, dissolve, or slowly slide down a ramp. The film is presented as a single sequence of events, but careful observation reveals over two dozen film edits.[1]
The film evolved out of work the artists did on their earlier photography series, "Quiet Afternoon", (German: Stiller Nachmittag) of 1984-1985. As the delicately unstable assemblages they constructed for the photos were apt to almost immediately collapse, they decided that they wanted to make use of this energy.[2] The film may also have been inspired by the video work of fellow Swiss artist, Roman Signer. The artists undoubtably saw his video work which was exhibited at the Kunsthaus Zürich in 1981.[3] Signer's videos often document objects performing simple actions that are the result of physical phenomena. - wikipedia
Swiss artists Peter Fischli and David Weiss have collaborated on
kinetic installations since 1979. All of their work to date, whether in
photography, film, drawing, or sculpture, has demonstrated a deep
interest in the mechanisms that animate the universe of objects.Fischli and Weiss remove these things that surround us from their contexts in our daily lives, and then restructure their relationships to one another. The artists aim neither to glorify nor to alienate these common objects, but merely to create new references in which they might be considered.
THE WAY THINGS GO - without narration or interviews - simply records the self-destructing performance of Fischli's and Weiss' most ambitious construction: 100 feet of physical interactions, chemical reactions, and precisely crafted chaos worthy of Rube Goldberg or Alfred Hitchcock.
"Their masterpiece to date... Using elemental means - fire and fireworks, blasts of air, gravity, and a variety of corrosive liquids - the artists manage to sustain a chain reaction of evermore absurd materials and events for 30 minutes."—New York Times
"'Ingenius' and 'amazing' are apt descriptions of this non-narrated Swiss production... The camera captures the finely tuned, continuous motion in this fascinating program for science students and other interested viewers."—Sue-Ellen Beauregard, Booklist
"One of the best films of 1987-88 didn't appear on anybody's top ten list. It wasn't featured on 'Siskel and Ebert' and it didn't receive a single Academy Award nomination (although it would be hard to categorize a film in which the 'best supporting' roles were foam and fire)."—Arts Magazine
"This rudimentary yet showy masterpiece would have made Picasso envious."—Flashart
"The film has an irresistible appeal... One cannot help but wonder at the work that must have been involved in each relatively simple action and reaction. How did they do it?"—Chicago Tribune
"**** [4 Stars - Highly Recommended] The fact that this chain reaction is sustained for 30 minutes is both amusing and amazing... Viewers whose familiarity with physics is limited may miss the import of some of the clever inventions, but the artistic merits are clear... Libraries with large experimental art collections will not be disappointed."—Carole Dratch-Kovler, Video Rating Guide for Libraries
"THE WAY THINGS GO is so unique I'll be surprised if the audience doesn't demand it be shown again before leaving the theater... Every once in a while a film comes along that is so unusual that it overwhelms one - and THE WAY THINGS GO is one."—John Douglas, Grand Rapids Press
"A post-modern Rube Goldberg illustration come to life, THE WAY THINGS GO is an art title sure to impress."—Barbara Wexler, Video Business
Naturally, this tape is also concerned with the
problem of guilt and innocence. An object must be blamed for not
proceeding further, and also for proceeding further.
‘An unambiguously CORRECT result of experiments exists; this is obtained when it works, when this construction collapses. Then again, there is a BEAUTIFUL which ranks above the CORRECT; this is obtained when it's a close shave or the construction collapses the way we want it to – slowly and intricately, that is, a beautiful collapse. The aesthetic layer on top of a function is like the butter on a sandwich – rather thin and smooth. The wrong result is obtained when things get going of their own accord, and the wrong result is obtained when they don't get going at all. The CORRECT range (which in terms of moral theology might also be called GOOD) is, in our view, incredibly narrow. Similarly, GOOD and EVIL are often very close, for example when the candle on the swing sets fire to the detonating fuse. Because they are nice and childish, the candle and the swing tend towards the good, whereas the detonating fuse is evil because you don't need it for harmless things. On the other hand, every object in our installation is good if it functions, because it then liberates its successor, gives it the chance of development. Not destructive in that sense.' - Fischli/Weiss
This experimental artistic setup with very mundane everyday objects is a chain reaction, a controlled happening based on the laws of physics and chemistry, on the inevitability and chance inherent in a precarious situation that might also be termed an ‘order of fluctuations'. The camera itself, fascinated, observes an event ‘taking its course' and documents a half-hour process with (practically) no edits. The videotape by Fischli/Weiss turned out to be an audience favourite at the ‘documenta 8' in Kassel.
www.medienkunstnetz.de/‘An unambiguously CORRECT result of experiments exists; this is obtained when it works, when this construction collapses. Then again, there is a BEAUTIFUL which ranks above the CORRECT; this is obtained when it's a close shave or the construction collapses the way we want it to – slowly and intricately, that is, a beautiful collapse. The aesthetic layer on top of a function is like the butter on a sandwich – rather thin and smooth. The wrong result is obtained when things get going of their own accord, and the wrong result is obtained when they don't get going at all. The CORRECT range (which in terms of moral theology might also be called GOOD) is, in our view, incredibly narrow. Similarly, GOOD and EVIL are often very close, for example when the candle on the swing sets fire to the detonating fuse. Because they are nice and childish, the candle and the swing tend towards the good, whereas the detonating fuse is evil because you don't need it for harmless things. On the other hand, every object in our installation is good if it functions, because it then liberates its successor, gives it the chance of development. Not destructive in that sense.' - Fischli/Weiss
This experimental artistic setup with very mundane everyday objects is a chain reaction, a controlled happening based on the laws of physics and chemistry, on the inevitability and chance inherent in a precarious situation that might also be termed an ‘order of fluctuations'. The camera itself, fascinated, observes an event ‘taking its course' and documents a half-hour process with (practically) no edits. The videotape by Fischli/Weiss turned out to be an audience favourite at the ‘documenta 8' in Kassel.
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