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Roger Weiss is a Swiss visual artist whose research explores the fragmentary construction of human identity in contemporary society through photography, video and installation.

Graduated with honors from the Brera Academy of Fine Arts in Milan, he investigates the human being as a threshold between presence and abstraction, memory and fiction.

His practice is guided by a constant tension toward the archetype: an inquiry into the body as a primordial figure that precedes roles, time, and narration.


He has exhibited in galleries and art fairs across Europe and the United States, including Ohsh Projects (London, UK), Gallery Sébastien Lepeuve (Clichy, FR), Snap! Orlando Gallery (Orlando, US), Limonaia di Villa Strozzi (Florence, IT), Museo del Barocco (Noto, IT), Gervasuti Foundation (Venice, IT), StadtGalerie Brixen (Bressanone, IT), Deutsch-Amerikanisches Institut (Heidelberg, DE), and Kulturzentrum Alte Kaserne (Winterthur, CH).

His works have been published in international art and photography books, including The Opéra (Kerber, DE), The Song of Songs, which is Solomon's (Josef Weiss Private Press, CH), and Doppelgänger – Images of the Human Being (Gestalten, DE), as well as in leading international publications such as WWD (US), L'Officiel (US, FR, IT), Vogue (UK, DE, IT), Numéro (FR), Marie Claire (FR), Schön! (UK), Interview Magazine (DE), Stern (DE), Carnale (IT), Digit! (DE), and Blink (KR). He has also been interviewed by Dazed (UK), i-D (UK), Exibart (IT), ArtsLife (IT), RSI (CH), Vogue Italia (IT), and NY Arts (US).

In parallel, he has collaborated with international brands such as Apple, Enterprise Japan, Amina Muaddi, and Wolford, developing projects that placed his artistic research in dialogue with fields of visual and cultural innovation.

From 2017 to 2020, he directed the artistic vision of Collectible DRY, an international English-language magazine distributed worldwide, contributing to its conceptual and editorial identity.


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Contact
© 2026｜Roger Weiss

info(at)rogerweiss(dot)ch

X ｜ Insta


© 2026｜Roger Weissinfo(at)rogerweiss(dot)chX ｜ Insta

roger weiss
Roger Weiss works at the intersection of the archetypal and the systemic.Through photographic construction, temporal modulation, and spatial installation, his practice dismantles the human: body, gesture, habitat, to expose the structures beneath.What precedes identity is his subject.

7

2013 - 2022 | Intimate Archive
The gesture before language

Eating is a primeval gesture, derived from the survival instinct. It is the point where two constantly connected dimensions converge: the deepest one, the most interior and mysterious side of the self, and the external structure, where sounds, eyes, mouth, tongue and nerve endings translate what is foreign into nourishment. In a single act, what is outside becomes life.
The body as open threshold
Defence and dissolution
Eating requires an unconditional act of will: the momentary suspension of defences in which the self permits entry. The most guarded part of the body becomes, for an instant, accessible. It is in the passage from what is external and alien toward what is internal and private that life itself is generated, in a single dialectical motion.

The studio as private chamber
Duration as form

Each work is a long-form video recorded in the artist's studio. The camera holds its position. The subject eats. Nothing is directed, nothing is constructed. What accumulates is not documentation: it is intimacy, a private act returned to its original weight. 


Video  
ia210118vd, 2018 (0'45" excerpt)
video 4k Ultra HD, 16/9, colour, 00:14:10

Intimate Archive
Selected works

7.1  ia301114vd, 2014
7.2  ia281120vd, 2020
7.3  ia011121vd, 2021
7.4  ia270822vd, 2022
7.5  ia100222d, 2022
7.1
7.2
7.3
7.4
7.5
Intimate Archive comprises 37 video works developed between 2013 and the present.


Complete archive available upon request.



Project Statement

Intimate Archive is an ongoing video series begun in 2013. Each work records   [...]

  [...]  one or more subjects eating in the artist's studio. The space remains that of production, but the subject inhabits it freely, without an imposed position. The framing is fixed for the duration of each work and redefined for each subject. What changes, every time, is the person and the duration.

The series departs from a precise observation: eating is one of the most intimate acts of the human, the moment in which the body willingly suspends its own defences. It is the point of convergence between two dimensions in constant relation, the innermost self and the external world that enters it. In this gesture, what is foreign becomes nourishment; what is alien becomes, in a single dialectical motion, life itself.

The camera does not intervene. There is no direction, no constructed scenario. The subject eats. Time passes. Across the growing archive, a grammar of private gestures emerges: the particular rhythm of each person's eating, their relationship to silence, to the camera's presence, to their own body. Individuality asserts itself precisely where the gesture is most shared.

The archive remains open. Each new work is a new entry: a private act collected, held, and made visible without being resolved.
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