30 x 23 x 33 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. Hats and photographs are regularly part of his appropriations and arrangements. He famously made numerous trips to England in search of old photographs when he was an antique dealer, and then worked in a gift store with his wife when he left the art world in the 1980s. 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. Borsalino-type felt hats carry associations with artists such as Marcel Duchamp and Joseph Beuys therefore this work, like pair of shoes and teapot with shadow also in the collection, could be imagined as a form suggestive of portraiture.
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...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
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...
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...
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...
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...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...
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...
Ong Keng Sen: Pushing the conversation | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Patricia Bateira May 6, 2020 Theatre stalwart Ong Keng Sen returns to helm Singapore theatre company TheatreWorks, after being away for a decade to complete his PhD in Performance Studies at Tisch School of the Arts in New York...
A Bruxelles, les foires d’art prolifèrent avec la Brafa et Ceramic Cet article vous est offert Pour lire gratuitement cet article réservé aux abonnés, connectez-vous Se connecter Vous n'êtes pas inscrit sur Le Monde ? Inscrivez-vous gratuitement Article réservé aux abonnés Des œuvres de Kevin McNamee-Tweed et Anne Marie Laureys, de la galerie Tatjana Pieters, à la foire Ceramic, à Bruxelles, en janvier 2024...
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...
Temps Mort is the result of one year of mobile phone exchanges of still images and videos between the artist and a person incarcerated in prison...
Bariga Nights is a photographic series set in the Bariga neighborhood in Lagos (Nigeria)...
“BC/AD” (Before Cancer, After Diagnoses) is a video of photographs of the artist’s face dating from early childhood to the month before he died, accompanied by the last diary entries he wrote from April 2004 to July 2005 (entitled “50 Reasons for Getting Out of Bed”), from the period from when he lost his voice, thinking he had laryngitis, through the moment he was diagnosed with lung cancer and the subsequent treatment that was ultimately, ineffective...