40 x 30 x 30 cm
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. Against authorship and the commodification of art, he never gives titles or dates to his works which have infinite edition possibilities. This mise en scène of found kitchenware also exists with a rounder and flatter plain modern white porcelain teapot. The mode of display is paired down to the simplest form of a plain square plinth that nevertheless conveys artistry, as does the addition of the cut piece of cardboard signifying a shadow. This recalls his large scale actual Shadow Play for the Venice Biennale in 2009. Feldmann has described his memories of working as a waiter and the lasting impression of the chairs propped up on the tables at the end of day and left the art world in the 1980s to work in a gift store with his wife. work, like hat with photoand pair of shoes also in the collection, is loaded with art historical references and irreverence through a simple assembly of an object and a classic artistic trick.
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.
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...
The Simpson Verdict is a three-minute animation by Kota Ezawa that portrays the reading of the verdict during the OJ Simpson trial, known as the “most publicized” criminal trial in history...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
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...
Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...
The fashion designer is selling off all the art inside his West Village townhouse at Sotheby’s New York to make way for a new collection....
Agnieszka Kurant’s Placebo VIII brings together a series of imaginary pharmaceuticals invented within the fictional narratives of literature and film...
In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces...
This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...