303 Gallery is proud to present our seventh solo exhibition of new work by Hans-Peter Feldmann.
Feldmann’s obsessive collecting of popular images and ephemera has earned him a singular position in the history of conceptual art, with his early books and photographic experiments commonly considered a rosetta stone for the birth of postmodernism. In recent years, Feldmann’s oeuvre has incorporated photography, sculpture, installation, drawing, and as highlighted in this exhibition, painting. Feldmann in fact began his art career as a painter, but quickly abandoned the medium, not satisfied with his own technical skill. Applying his extraordinary eye for images that are both categorically banal and cunningly suggestive, Feldmann’s version of a painting show consists of found paintings that are manipulated and placed into unexpected dialogues. Whether nudging insipid aristocratic portraits toward transcendent farce or uncovering hidden secrets in the pabulum of vernacular landscape painting, Feldmann begins to dissect the force that images enact upon the subconscious, simultaneously subverting and sublimating their capacities.
In another perversion of the exalted stature of the artwork, the majority of paintings in this exhibition are to be suspended from the ceiling as opposed to hung on the walls. As in Lina Bo Bardi’s design for the Museu de Arte de Sao Paolo (1968), this ‘floating installation’ democratizes the experience of the artwork, putting the viewer on equal ground with the paintings. Viewed as a collection of objects rather than an arrangement of metaphysical tableaux, the paintings inhabit space as things-themselves, a stark contrast to the contrived, impenetrable status symbols often conferred onto works of art.
This notion is very much in keeping with Feldmann’s general modus operandi, wherein his paintings are sourced from auctions before being altered or “arranged.” His ‘Sea Paintings’ for example, consist simply of 15 seascape paintings (both old and new, large and small, and from a mix of amateurs and better known painters such as Patrick von Kalckreuth) arranged salon style on a single wall. Repetition becomes a disjunctive impulse, as the paintings in combination with each other begin to reveal a certain latency of shared experience, a tabula rasa through which we can appreciate not only the impulse to paint and reproduce nature, but the construction of nature itself.
Hans-Peter Feldmann has shown in prestigious international venues for over 50 years. Recent solo exhibitions include a comprehensive show focused on his photographic works at C/O Berlin (2016), as well as a traveling survey at Deichtorhallen in Hamburg (2013), the Serpentine Gallery in London and BAWAG Contemporary in Vienna (both 2012). Additional exhibitions were mounted at the Museo Reina Sofia in Madrid (2010), the Malmö Konstall (2010), the Kunsthalle Düsseldorf (2010), and the Arnolfini in Bristol (2007-2008). Feldmann is consistently included in important group exhibitions, including the Walker Art Center in Minneapolis (2016), Palais de Tokyo in Paris (2013), São Paulo Biennial (2012), the Bass Museum of Art in Miami (2012), the Venice Biennale (2009), and Museé d’Art Moderne de la Ville de Paris (2008). In 2010, Feldmann was awarded the Hugo Boss Prize resulting in a solo exhibition at New York’s Guggenheim Museum. His work has been collected over the years my numerous public institutions including The Museum of Modern Art, New York, Tate Modern, London, Centre Pompidou, Paris, Hirschhorn Museum, Washington DC, and the Hammer Museum, Los Angeles. The artist lives and works in Düsseldorf.
ShanghART Beijing is pleased to present Hu Jieming’s first solo exhibition: Synchrony in Beijing on September 17th, 2016. The exhibition will combine three sets of artworks from different time spans: Synchrony (2016), The Remnant of Images (2013-now) and Related to Happiness (1999).
Synchrony is Hu Jieming’s latest work. It is a large-scale video that will take up the entire expanse of the exhibition room’s wall (7x20 meters). The style of group shots is used to present a gathering of people that appears to spread across the realms of space and time. The identities of these people are hybridized, creating a unique space-time relation and a narrative that switches back and forth between settings. The artist employs digital technology to assemble people from different areas, eras and social hierarchy, and uses image synthesis technology to activate their facial expressions and movements. Hence, the fragments of people in the image can narrate and deliver information from afar.
The Remnant of Images consists of more than 60 videos with different screen sizes and will be scattered around the exhibition room. The images of the video are also from a distant time and space. They are single images much like scenes within a photo album, and are divided into categories of “people” and “scenery”. In the center of the exhibition room will be the artist’s video installation Related to Happiness created in 1999. The lyrical sounds generated from the body itself will echo melodiously in this dialogue between the past and present.
Hu Jieming was born in Shanghai in 1957. He raises views and questions about time, space, history and memory, while his art covers a range of medium working with photography, video and digital interactive technology.
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