6 May 2012

Hans-Peter Feldmann at SERPENTINE GALLERY



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.











No comments:

Post a Comment