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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.
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. 4
2012 | Cyclical Time
Time and Relationship
A floor-based video installation in which two figures cross a pool onto which a forest filmed at the border between two nations is projected. Their passage generates concentric ripples that fragment and recompose the image in a continuous cycle of destruction and reconstruction.
Water and Passage
Relational Surface
The pool becomes a permeable surface through which two bodies move across a projected landscape. Each step disturbs the image, dissolving the boundary between the physical presence of the figures and the virtual territory they traverse.
Repetition and Difference
Relationship and Dissolution
The concentric circles generated by each crossing expand, fragment and disappear, awaiting the next disturbance. When the water recomposes, it returns a different image of the same forest: the cycle repeats in form but not in content. Always the same, always other.
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Installation View
Cyclical Time,
2012
Single-channel video installation
Full HD, 16:9, Col. / 17'56"
Performers: Anahì Traversi, Simon Brazzola
Body of Water
Fluidity and Anthropic Element
Curated by Izabela Anna Moren and Pier Paolo Scelsi
CREA, Cantieri del Contemporaneo
Venice, IT, 2024
Cyclical Time
Selected views
4.1-4.4 Cyclical Time
- Curated by Chiara Massini
- P.AR.C.O. — Padiglione Arte Contemporanea
- Casier (TV), IT, 2012
4.14.24.34.4Cyclical Time is a single-channel video installation developed in 2012.
Cyclical Time,
2012 (0'23" excerpt)
Single-channel video installation
Full HD, 16:9, col. / 17'56"
Performers: Anahì Traversi, Simon Brazzola
Project Statement
Cyclical Time stages an encounter between two bodies and a landscape that exists
[...]
[...]
only as projection. A man and a woman cross a pool onto which a forest filmed at the border between two nations is reflected. Their passage disturbs the surface, generating concentric ripples that fragment the image and gradually recompose it in anticipation of the next crossing.
The water functions as a permeable surface: between the physical and the virtual, between presence and representation, between one territory and another. The figures do not simply move through space, they alter it. Each step produces a temporary dissolution, a moment in which the landscape loses coherence before reconstituting itself.
Yet what reconstitutes is never what was there before. As the water settles, the video continues: the forest returns, but at a different frame, a different instant of the same landscape. The cycle repeats in form but not in content. Always the same, always other.
This is the deeper logic of the installation. Time appears cyclical but never truly returns to the same point. Destruction and reconstruction are not opposites but phases of a continuous movement that cannot be reversed. What the ripple dissolves, the stillness recomposes, differently, each time.
The borderland forest introduces a second register. Filmed at the limit between two nations, it carries the weight of division without naming it. The two figures who cross it do not resolve this tension, they inhabit it, moving through a landscape that belongs to neither side entirely.
What the installation holds in suspension is the question of whether recomposition is restoration or simply the condition that makes the next dissolution possible.