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...
For Bettina Poutsttchi’s large-format, site-specific photographic work Echo (2009–10), the four exterior walls of the Temporäre Kunsthalle Berlin were covered with a digitally edited collage of archival images of the glass-and-steel facade of the Palast der Republik (Palace of the Republic), which had once been located nearby...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
«I will put two heavy stones in my jacket pockets that way my body will sink deep like a deflated truck tire, no one will notice», this excerpt from “Quay West” by Koltès could echo the story depicted by Katinka Bock: the shipwreck of a small boat full of stones...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
Like with other works of the artist, with First Piano Katinka Bock tried to go against the rules of use of clay, that is, by forcing the material to the extreme, and transferring the resulting elements into a cubic shaped volume...
“School of the seven Bells (SOTSB)” is based on a series of hands games in which an object is passed from hand to hand...