Pair of shoes / Shoes with eggs

- Installation (Installation)

Hans-Peter Feldmann

location: Düsseldorf, Germany
year born: 1941
gender: male
nationality: German
home town: Dusseldorf, Germany

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.


Colors:



Ponderosa Pine IV
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Rodney Graham

1991

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Tree on the Former Site of Camera Obscura
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Rodney Graham

1996

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Catherine Opie

1994

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Untitled (City Limits)
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Allen Ruppersberg

1970

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Untitled (City Limits)
© » KADIST

Allen Ruppersberg

1970

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'
© » KADIST

Martin Kippenberger

1989

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Stilleben mid Zierlauch (Still Life with Aluminum)
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Annette Kelm

2014

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Rocket
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Jeffrey Vallance

1978

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Teapot with shadow
© » KADIST

Hans-Peter Feldmann

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)
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Allen Ruppersberg

1970

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7″ Single 'Pop In'
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Martin Kippenberger

1989

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Person with Pillow: Desire, Lust, Fate
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John Baldessari

1991

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Five-Hundred Twenty-Four
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Lenka Clayton and Phillip Andrew Lewis

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Weekly Picks: Indonesia (12 – 18 November 2018)
© » ARTS EQUATOR

Weekly Picks: Indonesia (12 - 18 November 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Weekly To Do November 12, 2018 Top Picks of Indonesia art events in Bali, Bandung and Jakarta from 12 – 18 November 2018 If you’re in Bali, swing by the exhibition “Efek Samping” part of the Futuwonder Project : Masa Subur ...

Interview with Xaviera Simmons
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Teapot with shadow
© » KADIST

Hans-Peter Feldmann

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Hat with photograph
© » KADIST

Hans-Peter Feldmann

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Foreigners Everywhere (Italian)
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2006

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A Tank Translated
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2002

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Jardin
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Baby Shoes, Never Worn
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Pasajes I
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2012

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Karachi Series 1 (Ken DeSouza, 7:42pm, 25th August 2008, Ramadan, Karachi)
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