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The Way Things Go (Der Lauf der Dinge, 1987) is a thirty-minute film by Swiss artists Peter Fischli and David Weiss featuring a series of chain reactions involving ordinary objects. It is also one of the truly wonderful works of art produced in the late twentieth century. The film embodies many of the qualities that make Fischli and Weiss's work among the most captivating in the world today: slapstick humour and profound insight; a forensic attention to detail; a sense of illusion and transformation; and the dynamic exchange between states of order and chaos. As everyday objects crash, scrape, slide or fly into one another with devastating, impossible and persuasive effect, viewers find themselves witnessing a spectacle that seems at once prehistoric and post-apocalyptic. Millar tells us why this extraordinary film speaks to us at the beginning of the twenty-first century. If history is 'just one thing after another', then The Way Things Go is truly a historic work.

Fischli and Weiss: The Way Things Go Jeremy Millar One Work Series

(Seen at Centre Pompidou, Feb 2015)

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Raf Simons S/S 2015

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Research for recent work - Richard Tuttle

He draws beauty out of humble materials, reflecting the fragility of the world in his poetic works. Without a specific reference point, his investigations of line, volume, color, texture, shape, and form are imbued with a sense of spirituality and informed by a deep intellectual curiosity. Language, spatial relationship, and scale are also central concerns for the artist, who maintains an acute awareness for the viewer’s aesthetic experience.

PACE gallery

Tuttle also choreographs us - we might stub our toe on an object nestling against the wall or be arrested by a construction's ascent into space.

Whitechapel gallery

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Construction #3 (Pink), 2015

MDF, foamboard, emulsion, spray paint, tape

Series of 3 MDF reliefs

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Studio work, relief studies (process photo), 2015

Emulsion, MDF

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Two figures (after Bourgeois), 2015

Acetate sheet, bubble wrap, mixed media collage, clips

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Untitled (combines), 2015

MDF, oil paint, acrylic paint, lining paper, tape

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A series of wall based objects or constructed paintings explore the blurred edges between media and continue Wicks’ appropriation of functional and utilitarian materials.

Having seen his practice broaden over recent years from painter to a wider concept lead approach, Dado could be seen as a return of sorts to the language of painting. Employing techniques more familiar with carpentry Wicks works sheet materials to create a body of work taking cues from American Abstraction and Minimalist movements by way of B&Q.

Art Licks

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Proun Room El Lissitzky 1923

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Proun 19D 1920 or 1921 El Lissitzky

Refer to Lissitzky ([...]Black Square, Whitechapel Gallery 2015), continue to look at contradiction/confusion/covering up in all projects through the organic/geometric, ordered/chaotic.

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The Birth of the World 1925

Joan Miró

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Collage 1929 Joan Miró

Consider adding relief elements to paintings on board [scale and illusion], refer to Miró's collage works, covering up/obscuring paintings.

When this collage was first exhibited, the left side was covered by an entire sheet from La Publicitat, a Barcelona newspaper. Later Miró ripped all but a small circle of the page from the composition. He left the edges of the collage elements in this work unglued, allowing them to curl above the composition’s surface to create palpable material depth. The colored papers have faded since the work was made, but upon viewing it in 1968, Miró expressed appreciation for the effects of aging.

Joan Miró: Painting and Anti–Painting 1927–1937 November 2, 2008–January 12, 2009

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Blaue Scheibe und Stab (Blue Disk and Stick) Blinky Palermo 1968

Developing paintings into three dimensional forms which further confront viewer/work becomes more situational/spatial.

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Claire Doherty - 'The Event of Situation: Contemporary Art, Place and Time' Hosted by the School of Fine Art, GSA

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In perceiving an object, one occupies a separate space - one's own space. In perceiving architectural space, one's own space is not separate, but coexistent with what is perceived. In the first case, one surrounds; in the second, one is surrounded. This has been an enduring polarity between sculptural and architectural experience. [...]

Robert Morris The Present Tense of Space 1978

Barclay, C, 2009. Situation