Title: Dichter und Maler als Komponisten, Poets and Painters as Composers, Klavierwerke von Boris Pasternak, E.T.A. Hoffmann, Lyonel Feininger. Contents: Lyonel Feininger: Fuge I fur Klavier(1921), Fuge III(Gigue) fur Klavier(1921). Perf:Annie Gicquel(p).

Cover: multi-color print of a painting by Lyonel Feininger, design: Heinrich Lehmann, 30 cm, 33 RPM, 1981, Fono Schallplatten Munster, No.FSM 53210 EB.

Record of Beracryl, 30 cm, 1988, limited edition of 120, numbered and signed, special issue of Parkett No.17 Record, 1988.

The two collaboration-srtists present a record as part of the special edition of Parkett No.17. But Peter Fischli and David Weiss did not produce it in a Sound-Studio. The record described here is an object with the title "Record". However, you can actually play this Fischli/Weiss-record. If you're not afraid to ruin your recordplayer or stylus, yopu will hear a kind of average disco-music. Average, in this case, also means a reduction of the possible fidelity: HiFi-fetishism devours itself.

The record represents one of the favorite and most widespread articles for domestic use. It belongs to a household like the potted plant, the furniture, the pots and pans, the car, the newspapers, and the jam.

But we probably have never encountered a self-made, self-molded species record. Only Fischli/Weiss bring us this sympathic, bulk article near to the custom-tailored dress, the home-assembled bookshelf, or the self-built house. They refer to that fine line between the ridiculous and the special, which is unique to such objects. This record is an imitation.

Here we remember the antique legend of the bird who tried to pick a painted cherry, because painting had imitated nature so perfectly.

Fischli/Weiss confront us with an object that shows the cherry as a record and the bill of the bird as the stylus.
In one of the small sculptures of the series "Plotzlich diese Ubersicht", Fischli/Weiss already dealt with this problem by plastically forming the signet of "His master's Voice". Not only does the question arise whether the dog follows the real or unreal, the right or the wrong voice of his master, but also whether the trademark reproduced by Fischli/Weiss is still vaild as a trademark.

The material which the Fischli/Weiss record is made of is Beracryl and is similar to the material that the artists use for their so called "rubber"-sculptures. Thus "rubber" can sometimes imitate rubber; but, in our case, acryl imitates vinyl... by Bice Curiger

Contents: Sun city, Venus in Furs, Ulan bator, Out demons out. Perf: a.o. Markus Oehlen(g, dr, syn), Diedrich Diederichsen(keyboards, voc, dr, voc), Jorg Gulden(g)

Cover: b/w, design: Flying Klassenfeind, 30 cm, 45 RPM, 1982, Line Music, Humburg, No.LMMS 3026AG

Music: Rudiger Carl. Perf: Rudiger Carl(ts, cl), Phil Wachsman(v, el), Stephan Wittwer(g, el), Irene Schweizer(p), Jay Oliver(b).

Cover: two-color print, gatefold, design: Gunther Forg. 2LP, 30 cm, 33 RPM, 1987, Free Music Production, Berlin, No.FMP 1210/20.

The sculpture site of this version... was created for the New Music America '81 Festival. At the sculpture site, listeners walked along the 600 foot pier, on a trajectory towards Angel Island(3 miles away). At the end of the pier, all of San Francisco bay is visible. For 300 feet of this walk, listeners would pass under a sequence of eight loudspeakers. Each of these played a live broadcast of ambient sound from each of eight different and distant microphone locations around San Francisco bay.

Contents: Landscape sculpture with fog horns, Installation version, 1981, Landscape sculpture with fog horns, live radio version, 1982.

Cover: multi-color print, design: Bill Anton, Dennis Favello. 30 cm, 33 RPM, 1982, KQEDFM, San Francisco.