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German Conceptual artist Hans-Peter Feldmann, recognized for his works by which on a regular basis pictures and objects are repeated, usually to humorous impact, died Could 24 on the age of eighty-two. In works variously comprising artist’s books, posters, and multiples, Feldmann, a compulsive collector, recontextualized his topics in a way that presaged the appropriation artwork of the Nineteen Eighties. Although his strategies appeared easy, the outcomes have been something however. On profitable the Solomon R. Guggenheim’s $100,000 Hugo Boss Prize, for instance, an honor sometimes attended by a solo exhibition on the New York establishment, Feldmann determined to show the money itself, relatively than any typical art work. “100 thousand used one-dollar payments fully lined the gallery partitions in neat, overlapping rows,” wrote Matthew Higgs in a 2011 difficulty of Artforum. “What might have come throughout as an excessively literal, even pedantic gesture turned out to be an unexpectedly melancholic and aesthetically seductive expertise.”
Hans-Peter Feldmann was born on January 17, 1941, in Düsseldorf. Having gained an curiosity in artwork that he chalked as much as the “boredom” of put up–World Conflict II life in Germany, he studied portray on the College of Arts and Industrial Design in Linz, Austria. Figuring out that images have been “fully adequate” to convey his concepts, he turned away from that medium to artist’s books. His first sequence of those, “Bilder” (Footage), 1968–71, have been a gaggle of small handmade volumes, every containing numerous footage—or in some cases, one image repeated time and again—of a single topic, starting from knees to chairs to ships. Feldmann’s Secret Picturebook of 1973 featured thirty small black-and-white footage of a lingerie-clad girl’s torso tucked at numerous intervals into an educational guide, the place they may shock the unknowing reader; the New York Occasions_’s _Ken Johnson later famous that the work “pointedly embodies the artist’s mischievous relationship to excessive tradition.” Quite a few works relied extra acutely on the creativeness of the viewer, for instance the suite Ansichten von Autoradios, in denen gerade gute Musik spielt (Footage of Automobile Radios Taken Whereas Good Music Was Enjoying), 1970–90.
In distinction with a lot of his friends, Feldmann refused the commercialization of his work, which he produced in unsigned, limitless editions. Following a 1980 exhibition of his work in Ghent, Belgium, he stepped away from the artwork world and labored for a time promoting thimbles in Düsseldorf. A decade later, curator Kasper König coaxed him again to publicly exhibiting his work, awarding him a 1990 solo present at Portikus, in Frankfurt. Feldmann’s work by this time had grown past books and sequence of novice photographs and industrial prints to incorporate toys, furnishings, and different objects, which he offered in more and more bigger installations. His oeuvre usually had a polarizing impact, as evinced, for instance, in two early-Nineties evaluations in Artforum two years aside, one castigating his collections as little greater than dime-store shows and the opposite lauding them as “one of the vital essential efforts of the ’60s and ’70s.” Regardless of the eye of this nature, and thanks largely to his rejection of commodification, he remained largely unknown outdoors of Europe for many years to return.
Feldmann within the 2000s continued his serial works, however expanded his follow to incorporate images, capturing his personal photographs relatively than utilizing discovered pictures. Amongst works of this sort are 100 Years, 2001, for which he photographed 101 buddies and family members between the ages of eight months and 100 years, and One Pound Strawberries, 2005, a set of particular person pictures of the titular fruits that make up a pound. In 2010, Feldmann’s room-filling 9/12 Frontpage, 2001, comprising over 100 entrance pages of newspapers from all over the world courting to the day following the assault on New York’s World Commerce Heart appeared on the Eighth Gwangju Biennale. Shortly thereafter, he was awarded the Hugo Boss Prize, turning into the consideration’s oldest recipient and at last attaining world recognition.
Feldmann loved solo exhibitions of his work at Sweden’s Malmö Konsthall, Munich’s Pinakothek der Moderne, France’s Les Rencontres d’Arles, and London’s Serpentine Galleries, amongst different establishments. Along with the Gwangju Biennale, Feldmann’s work appeared within the Bienal de São Paulo, two iterations of the Venice Biennale, two editions of Documenta, and Skulptur Projekte Münster, for which he collaborated with the town to renovate a public rest room. His work is held within the collections of the Fotomuseum, Winterthur, Switzerland; the Museu d’Artwork Contemporani de Barcelona, and the Hamburger Banhof, Berlin.
Requested in 2015 by an interviewer from Humlebæk, Denmark’s Louisana Museum of Fashionable Artwork if he had any recommendation for younger individuals, Feldmann, as typical, positioned artwork’s worth not in its monetary value however within the response it engenders. “When somebody sees it and experiences one thing,” he stated, “that’s when artwork occurs.”
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