It's not
particularly common that Conceptual Art is thought-provoking, aesthetically
pleasing and utterly desirable. Much less often does it engage a viewer with a
cheeky sense of humour. The fact that the work of Hans-Peter Feldmann covers
all of these points makes him a great asset to contemporary visual art.
Like many of his
contemporaries (names including Joseph Beuys and Gerhard Richter), Feldmann
came to international prominence in the 1970s; his pre-occupation is in the
collection, categorisation, organisation and presentation of common, everyday
objects. Systematic and thorough re-organisation of photographs of (generally
assumed to be) the banal detritus of daily visual culture displayed across
booklets, magazines, books, postcards and installation developed Feldmann's
continued interest in slowing time down; using the visual tools of the daily
grind, chronicled in the most expansive manner.
Feldmann might be
seen as a kind of conceptual structuralist whose primary mode could be
described as “this is not that.” It’s a strategy heavily reliant on seriality
and repetition. If a viewer chooses to imbue a particular image or work with
extra meaning, that seems fine with Feldmann.
To some extent, I
think Feldmann uses different ways to intrude the original artwork and thus
changing the original meaning, which likes my recent photography project but with
different medium.
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