The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations. Verging on a form of fetichism, his shoe collections are a case in point and indeed, for some exhibitions, he even asked gallery employees for their shoes. Against authorship and the commodification of art, he never gives titles or dates to his works which have infinite edition possibilities. The mode of display is paired down to the simplest form of a plain square plinth that nevertheless conveys artistry. The presentation contributes to the re-orientation and re-contextualization of these assembled found objects taken from everyday life. This work, like hat with photo and teapot with shadow also in the collection, could be imagined as a form suggestive of portraiture. Secondary autobiographical components are sometimes included: a set of eight black-and-white photographs of shoes, Ursula + Hans-Peter, stands for the artist and his wife with whom he worked in a gift store when he left the art world in the 1980s. The positioning of this female pair of shoes is clearly deliberate and meaningful as is the literal and playful mimetic association of snakeskin and quail’s eggs patterning.
Hans-Peter Feldmann creates intimate works that explore the link between art and entertainment. He does not date his projects, instead using the multiple as a snub to the art market and its suspicious sacralization. Rather than producing and inventing, he prefers to accumulate, recover, and collect. Feldmann assembles his findings, and collides them, letting the absurd and the poetic emerge. By giving images and objects back their strangeness, their tactile and emotional force, he expels the banal. His entire production questions the value of the artistic act. Through simple gestures and incongruous connections, Feldmann reminds us that art is an appropriation that populates our daily lives if we are willing to let it flourish.
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
Monteverdi Ici – Deeply, Feeling Filling the World by Laure Prouvost is a tapestry that references a video by the artist entitled Monteverdi Ici (2018)...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...
The Nightwatch , which is an ironic reference to the celebrated painting by Rembrandt, follows the course of a fox wandering among the celebrated collections of the National Portrait Gallery in London...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...
Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...
Five Hundred Twenty-Four, a single-channel video installation by Lenka Clayton and Phillip Andrew Lewis, features singers from over twenty Cleveland-area choirs counting numbers in an iterative process: one person sings “one”, then two people sing “two”, and so forth, to 524...
Weekly Picks: Malaysia (19–25 Nov 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Weekly To Do November 19, 2018 KLEX 2018: Translucence , at various locations, 22–25 Nov An independent artist-run grassroots international festival of experimental film, video art and music...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Foreigners Everywhere is a series of neon signs in several different languages...
Jardín (2013) refers to environmental destruction, specifically the preponderance of disposable plastics, as well as Medellín’s long history of dangerous conflict; it was once considered the most violent city in the world because of the drug trafficking there...
Baby Shoes, Never Worn is part of photographer John Houck’s series of restrained still-life photographs capturing objects from his childhood...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Back images is a series of six photographs by Sarah Lei Cheuk Wah that explore the semiotics of power and their intersection with representations of masculinity...