![]() “She’s individual and unforgettable,” the critic Jacqueline Burckhardt, one of Rist’s close friends, told me. Now fifty-eight, Rist has the energy and curiosity of an ageless child. ![]() (Rist’s video installations come in editions of three, with one artist’s proof.) It is one of those rare works whose elements-hilarity, suspense, timing, comic violence, anarchy, and a lovely musical score-fit together with irresistible perfection. The Museum of Modern Art, the Museum of Contemporary Art Chicago, and the National Museum of Modern Art in Kyoto acquired copies. Shown publicly for the first time at the 1997 Venice Biennale, the eight-minute work, called “Ever Is Over All,” won the Premio 2000 award for emerging talents, and made Pipilotti Rist, a thirty-five-year-old Swiss artist, an international star. One more jubilant demolition brings the video to a close. They pay no attention to the smasher, but the policewoman, who has gradually overtaken her, smiles and salutes as she passes. While the flower wielder assaults three more parked cars, a small boy on a bicycle rides by her in the opposite direction, followed by a middle-aged woman in a red coat. Behind her, a block away, a uniformed policewoman turns the corner, and a young man in a striped T-shirt crosses the road. (This is a video.) The red-and-yellow blossom strikes a side window, shattering it with a loud, satisfying crash, and the woman moves on, smiling ecstatically. The smashing is joyful, not angry, a skip step followed by a full-body swing in slow motion. A young woman in a blue dress and shiny red shoes sashays along a sidewalk, smashing car windows with a metal wand painted to look like a long-stemmed flower.
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