{"id":1585,"name":"","email":"ensembles@muhka.be","language_id":1,"permalink":"hans-peter-feldmann","deleted":false,"legal_status_id":47,"url_1":"http://www.303gallery.com/artists/hans-peter_feldmann/","twitter":null,"category_id":47,"date_of_birth":"1941-01-01T00:00:00.000+02:00","place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"","publishing_process_id":1,"can_log_in":false,"firstname":"Hans-Peter","lastname":"Feldmann","annotation":"","url_2":"","url_3":"","cached_name":"Hans-Peter Feldmann","date_of_death":null,"cached_name_asc":"Feldmann, Hans-Peter","stream_count_app":43,"gender":"other","platform_admin":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/624/large/HansPeterFeldmann.jpg?1370337797","poster_credits":null,"media_count":1,"items_count":1,"translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I was asked by a young artist how I would define art. And I replied something like this: somewhere there is a large meadow, and that\u0026rsquo;s the world. A beautiful, colourful, green meadow. And there in the middle of it is a rectangular fence which cordons off a part of it. And the inside bit is art, and around it is the world. And when the fence falls down, art is the world, and the world is art. That\u0026rsquo;s the sentence about the fence.\u0026quot;\u003c/em\u003e\u0026nbsp;- Hans-Peter Feldmann\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIn 1968, Feldmann gave up painting, arguing that photographs were \u0026quot;fully sufficient\u0026quot; to convey the idea of his art, and he has ever since worked primarily with reproduced images found well outside any fine-arts context. He takes them from the mass media or finds them at the flea market--magazine clippings, family snapshots, pinups, photo albums, posters, placards, amateur photography. Feldmann\u0026#39;s reservoir of images spans the wide world of kitsch: pictures of sunsets, cute puppies, and idyllic landscapes, which even in grainy reproductions still harbour the promise of \u0026quot;beauty\u0026quot;; a trove that reflects the allure of advertising and personal and collective longings, as well as the banality of the (petit bourgeois) every day.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I was asked by a young artist how I would define art. And I replied something like this: somewhere there is a large meadow, and that\u0026rsquo;s the world. A beautiful, colourful, green meadow. And there in the middle of it is a rectangular fence which cordons off a part of it. And the inside bit is art, and around it is the world. And when the fence falls down, art is the world, and the world is art. That\u0026rsquo;s the sentence about the fence.\u0026quot;\u0026nbsp;\u003c/em\u003e- Hans-Peter Feldmann\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIn 1968 stopte \u003cstrong\u003eFeldmann \u003c/strong\u003emet schilderen. Hij vond dat foto\u0026#39;s meer dan adequaat de idee van zijn kunst weergaven. Sindsdien werkt hij vooral met gereproduceerde beelden die niets meer te maken hebben met de Schone Kunsten. Hij neemt ze mee uit de massamedia of vindt ze op de rommelmarkt - knipsels uit tijdschriften, familiekiekjes, pin-ups, fotoalbums, posters, aanplakbiljetten, en amateurfotografie. Feldmann concentreert zich op de uitgebreide en weelderige wereld van de kitsch: foto\u0026#39;s van zonsondergangen, schattige puppy\u0026#39;s en idyllische landschappen, waarvan zelfs de grofkorrelige reproducties nog altijd een belofte van \u0026#39;schoonheid\u0026#39; bevatten; een schat met de allure van reclame, persoonlijke en collectieve verlangens, evenals de banaliteit van elke dag.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;Un jeune artiste m\u0026#39;a demand\u0026eacute; comment je d\u0026eacute;finirais l\u0026#39;art. J\u0026#39;ai r\u0026eacute;pondu quelque chose du genre : quelque part, il y a une vaste prairie et c\u0026#39;est le monde. Une magnifique prairie, color\u0026eacute;e, verte. Et au milieu, il y a une cl\u0026ocirc;ture rectangulaire avec des cordons sur une partie. A l\u0026#39;int\u0026eacute;rieur, c\u0026#39;est l\u0026#39;art. Autour, c\u0026#39;est le monde. Et lorsque la cl\u0026ocirc;ture s\u0026#39;effondrera, l\u0026#39;art sera le monde et le monde sera art. C\u0026#39;est la phrase \u0026agrave; propos de la cl\u0026ocirc;ture.\u0026nbsp;\u0026raquo;\u0026nbsp;\u003c/em\u003e- Hans-Peter Feldmann\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nEn 1968, \u003cstrong\u003eFeldmann \u003c/strong\u003ea arr\u0026ecirc;t\u0026eacute; de peindre. Il trouvait que les photos rendaient l\u0026#39;id\u0026eacute;e de son art de mani\u0026egrave;re plus qu\u0026#39;ad\u0026eacute;quate. Depuis lors, il travaille surtout avec des images reproduites qui n\u0026#39;ont plus rien \u0026agrave; voir avec les Beaux-Arts. Il les tire des mass-media ou les trouve sur les march\u0026eacute;s aux puces (coupures de magazines, photos de famille, pin-ups, albums photo, posters, affiches et photos amateur). Feldmann se concentre sur le vaste et opulent monde du kitsch : photos de couchers de soleil, adorables b\u0026eacute;b\u0026eacute;s chiens et paysages idylliques dont m\u0026ecirc;me les reproductions \u0026agrave; gros grains contiennent encore une promesse de \u0026#39;beaut\u0026eacute;\u0026#39;. Un tr\u0026eacute;sor aux allures de publicit\u0026eacute;, des d\u0026eacute;sirs personnels et collectifs ainsi que la banalit\u0026eacute; du quotidien.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;Wenn man Kunst als gr\u0026uuml;ne Wiese betrachtet, die mit einem Zaun umgeben ist, hinter dem die Welt stattfindet, sollte man einfach den Zaun abrei\u0026szlig;en. Kunst wird die Welt, die Welt wird Kunst.\u0026quot;- Hans-Peter Feldmann\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e1968 h\u0026ouml;rte \u003cstrong\u003eFeldmann\u003c/strong\u003e auf zu malen. Er fand, dass Fotos mehr als angemessen die Idee seiner Kunst wiedergaben. Seitdem arbeitet er vor allem mit produzierten Bildern, die nichts mehr zu tun haben mit den sch\u0026ouml;nen K\u0026uuml;nsten. Er nimmt sie mit aus den Massenmedien oder findet sie auf dem Flohmarkt \u0026ndash; Zeitschriftausschnitte, Familienfotos, Pin-ups, Fotoalben, Poster, Anschlagzettel, und Amateurfotografie. Feldmann konzentriert sich auf die umfangreiche und \u0026uuml;ppige Welt des Kitsches: Fotos von Sonnenunterg\u0026auml;ngen, schnuckelige Welpen, und idyllischen Landschaften, wovon sogar die grobk\u0026ouml;rnigen Reproduktionen noch immer ein Versprechen von \u0026lsquo;Sch\u0026ouml;nheit\u0026rsquo; enthalten: ein Schatz mit einem Format von Werbung, pers\u0026ouml;nlichem, und kollektivem Verlangen, ebenso wie die Banalit\u0026auml;t des Alltags.\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[{"country":"","place":"Düsseldorf","category":{"en":"Born in","nl":"Geboren in","fr":"Né à"}},{"country":"","place":"Düsseldorf","category":{"en":"Lives in","nl":"Leeft in","fr":"Vit à"}}]}