Ceci n'est pas un Koons  2007

mixed media  70 x 60 x 130

not in the wildest dreams  2008

mixed media  70 x 120 x 120


Visiting New York City

doll dolly dolls  2006

Polyresin, Epoxy, Acryl  95 x 100 x 70

piggyback  2006

Polyresin, Epoxy, Acryl  100 x 95 x 90

fishing clouds  2006

mixed media  70 x 100 x 130

kleinkariert  2005

mixed media  110 x 80 x 150

Fell über die Ohren gezogen  2007

Polyresin, Epoxy, Kunstfell  130 x 10 x 170

house-shearing  1999

mixed media  110 x 30 x 30

hula hoop  1999  Collection Hauser & Wirth

mixed media  130 x 70 x 110

our-deer-home / Geweihtes Haus, edition of 100, 1999

mixed media  40 x 30 x 60

rambo  1999

mixed media  80 x 30 x 80

table runner / Tischläufer  1987  Collection Bank Julius Baer

mixed media  180 x 60 x 80

up down

Roland Faesser


fishing for compliments  Wed May 27th - Sat July 4th 2015 with Katja Colling

think tank tonky . groupshow from Aug 31st - Oct 6th 2012

peekaboo . groupshow from Dec 14th 2011 till Feb 4th 2012

friendly outgrowth . soloshow  from Aug 28th till Sept 27th 2008


Born in Lima Peru
Studied architecture in Switzerland
Instructor for Visual Design at Swiss Federal Institute of Technology Zurich
Received grant from Steo Foundation, Zurich
Visiting critic at F+F Art School in Zurich
Instructor for Architectural Design at Swiss Federal Institute of Technology Zurich
Directed summer course «Acceptable Realities» University of Art and Design Zurich
Visiting critic for Three-Dimensional Design at F+F Art School in Zurich
Juror final degrees at University of Art and Design Zurich (ZHdK)
Sabbatical year, New York
Lectureship for Scenic Design at University of Art and Design Zurich (ZHdK)
Visiting critic for Scenography at Saint Martins College of Art & Design in London
Lectureship Intermedia at the Academy of Design in Vorarlberg, Austria
Lectureship for Interior- and Industrial Design University of Art and Design Zurich


Public Art Commissions

Psychiatric Clinic Koenigsfelden; architects: Liechti Graf Zumsteg, Brugg


School building Zurich; architects: Huggenberger GmbH, Zurich


Children‘s Hospital Zurich; architect: Miroslav Sik, Zurich


Federal State Museum Vaduz; architects: Brunhart, Brunner, Kranz


Vicarage in Egg; architect: Miroslav Sik, Zurich


Knie's Zoo for Children Rapperswil; architects: Muller Truniger, Zurich


Children‘s Hospital Zurich; architect: Miroslav Sik, Zurich


Kindergarten in Munich; architect: Baureferat Munich


House for Musicians in Zurich; architect: Miroslav Sik, Zurich


Children’s home Frankfurt; architects: Kollhoff & Timmermann, Berlin




fishing for compliments . mitart gallery Basel


think tank tonky . mitart gallery Basel with Matthias Aeberli & Tarek Abu Hageb


PEEKABOO . mitart gallery Basel


friendly outgrowth . mitart gallery  Basel


MU Art Foundation, Eindhoven


Art Museum, Dortmund

Kunsthalle Krems, Austria


Viral Rooms, Davos

Museum of Design, Zurich

Swiss Institute, New York


Andy Jllien Gallery, Zurich

Hartmut Beck Gallery, Erlangen


Blau Gallery, Freiburg

Hartmut Beck Gallery, Erlangen


Brochier Gallery, Munich

House of Art, Munich


House of Culture, Linz

Shedhalle, Zurich


Museum of Design, Zurich

Brochier Gallery, Munich

BildRaum Gallery, Zurich

Steirischer Herbst, Graz

Kunsthaus, Langenthal


Museum of Design, Zurich


Kunsthalle, St. Gallen


Andy Jllien Gallery, Zurich

Museum of Arts and Crafts, Berlin


Weinand Gallery, Berlin


Art Museum, Zurich


Grand Palais, Paris

Art Museum, Glarus

Zeus Gallery, Milan

Strauhof Gallery, Zurich


Works in Private Collections in Switzerland and Germany, such as: Hauser & Wirth Collection Zurich, Julius Baer Bank Zurich, City of Zurich



fishing for compliments . Delphine sind in allen Meeren verbreitet, nur ganz selten sind diese in einer Basler Galerie zu orten. Roland Faessers Delphine sind als Serie Ende der 90er Jahre entstanden und haben nichts an Frische eingebüsst. Die exakte Grösse der einzelnen Tiere, ob ein oder zwei Meter ist nicht auszumachen, denn jeder der neun Exemplare verwehrt uns den Blick auf Schnauze und schnabelförmig lachende Miene. Die kraft- und schwungvollen Bewegungen der Delphinkörper kragen in den Raum aus und nehmen uns mit in eine spielerisch imaginäre Wasserwelt.
Sylvia von Niederhäusern

Zu Herstellungsprozess und Technik schreibt Günter Hacke:
‚Unter den Tieren gibt es solche, die schwimmen, und solche, die nicht schwimmen, und dann jene, die erst schwimmen, wenn man sie aufgepustet hat. Dem Schweizer Künstler Roland Fässer hat die Kurzfristigkeit der Aufblastier-Existenz keine Ruhe gelassen. Er pustete verschiedene von ihnen zu praller Fülle auf, um sie dann quasi zu mumifizieren ( ...) Er umwickelte die Tiere mit gipsgetränkten Stoffen, umgoss sie sodann mit einer holzartigen Masse und glättete die Oberfläche, bis man auf den ersten Blick das ursprüngliche Aufblastier vor sich zu haben glauben könnte - hätte nicht Fässer im Rahmen seines Arbeitsprozesses die Form des Tieres auch noch verfremdet.’ (...)
Günter Hacke – Süddeutsche Zeitung




The Wind Menagerie - The nature and development of aquatic animals – an exihibition in Munich:
In the animal world, there are creatures who swim and those who do not. Then, there are others who swim only after they have been inflated. (There is also the bullfrog – he inflates himself.) The creatures belonging to the third category are displayed immobile, flattened, and inconspicuously on the shelves of larger and smaller department stores or at seaside kiosks, until someone comes by and breathes life into them. Once inflated to full size, one can sit astride them or hang on to their curvy bodies and throw oneself into the ocean waves or drift along on the pale blue stream of the Ungerer – wonderful!
From a hygienic point of view, inflatable animals are highly recommended companions. They do not make a mess, do not bite, smell only slightly of rubber, and never make a noise, except maybe when they are on their last legs. A continuous “hiss” might then be heard. Even when you stub out a cigarette on them, they still make no noise.
Those people who have crossed the Atlantic, sometimes criticize these creatures’ poor durability. The body usually gets a puncture somewhere sooner or later and then slowly collapses. For some who have wanted to travel from Africa to the Caribbean on the back of a rubber crocodile, a sea urchin on the beach has led to disaster before the journey had even begun. (The author once had the idea of being the first person to sail from Marseille to Algiers with an inflatable, black gorilla. However, during the preparation, little Marie took the animal for a walk and passed too closely by a rose bush. That was the end of that). Swiss artist Roland Faesser could not stop thinking about the brief existance of inflatable animals. He inflated several of them to full size and then, so to speak, mummified them. He wrapped the creatures in material soaked in plaster and then made a cast in a sort of cellulose mixture. (Please excuse this amateurish description!) He then smoothed the surface to such perfection that, at first glance, one would think one was looking at the original if only Faesser had not defamiliarized the creature’s shape during this working process. His interpretation of the expression “household pets” is that every animal, whether crocodile or swan, carries one or several houses either on its back or as tumorous projections from its body, or as with the sculpture “Hausvorstand”, the creatures themselves stream out of the houses.
Can one do this? One might ask what has happened to the original animal in the meantime! Is it really still in there? Is the artist telling the truth? Is the crocodile, swan or fish inside Faesser’s objects still alive? Is it still inflated and just carrying its hard outer shell? Maybe the creature is bracing itself against the shell, trying to burst it from the inside? Like a suit of armour, does the shell serve as protection against the “prickly” situations in life? Or, did the animal wither away at some point in time, dead, so that the empty shell is just a memory of a creature who lived long ago? Its monument? To put it in a nutshell, has this to do with the immortalization of a living or of a deceased creature?
It is worth mentioning that during the conversation with the owner of the gallery, he drew our attention to the fact that the smooth surface of the sculptures is characteristic of our times. We would like to add that, because these animals are inflated and made to be so durable, we think these pieces of art are very suited to this summer, infact to the nineties in general and to the city of Munich. To quote the owner of the gallery again: “I think they’re absolutely relevant”. That is putting it mildly.

AXEL HACKE Süddeutsche Zeitung