The exhibition opening in the Deichtorhallen Hamburg on Marc h 1\, 2013 is dedicated to the major series\, installations\, sculptures an d paintings of Hans-Peter Feldmann. Born in Düsseldorf in 1941\, the artis t shot to fame in the early 1970s with his encyclopedic photographic series \, the material for which he found in the grand fund of everyday images. Fe ldmann bridges the ostensible divide between art and the everyday\, and bat hes things he finds in the banal world of the everyday\, from amateur photo s\, toys and general bric-a-brac\, in his own personal\, poetic light. His works have been exhibited\, in the Guggenheim in New York\, at the Document a and the Venice Biennale to name but a few venues. He has come to occupy t he high echelons of the German art world\, joining Gerhard Richter and Sigm ar Polke as some of the country’s most famous artists\, exerting a truly pa lpable influence on the subsequent generation of artists.

Even t oday\, Feldmann’s creations have lost none of their seductive power\, facil ity or subtle humor. In his works he touches upon childish\, erotic yet non etheless political cosmos\, each an admixture of ready- made and artistic i ntervention. Examples range from the installation of a phantasmal shadow pl ay\, to the purses he bought from women on the street for EUR 500 a piece\, whose contents he then exhibited in an art show\; and from the artistic »F unkturm« installation\, which was part of an exhibition on Deichtorplatz\; to Michelangelo’s »David«\, nine meters tall and painted in jarringly brigh t colors: The show presents everything that makes Feldmann’s work so specia l.

Hans-Peter Feldmann »finds« his works in the pictorial worlds of ordinary\, everyday life\, in commonplace media such as TV\, magazines or kitschy postcard series. A group of footballers from HSV Hamburg are\, f or example\, juxtaposed with bunches of strawberries or postage stamps. In a series dealing with the events of 9/11\, he compiled the front pages of 3 00 international newspapers from the following day. While in »100 years« he creates a unique view of a century free of conventional historiography\, b ringing together a collection of portraits depicting people of varying ages from month-old babies to centenarians.

Classical paintings such as those by Modigliani are subjected to a number of small\, interventions inviting the beholder to take a closer look\, yanking high art down from it s pedestal and subverting the belief in the beauty of art and the represent ative. For instance\, Feldmann has erased ships from seascapes\, added depi ctions of notable people to classical portraits\, painted red noses on doll ar bills\, and given Courbet’s nude a tan line from sunbathing in her bikin i. Many of the artist’s works playfully challenge the dream of an ideal wor ld\, which forms the foundations of western artistic tradition.

Hans-Peter Feldmann certainly has a few tricks up his sleeve for the exhibi tion in Hamburg. The visitors will be greeted by an upside-down car placed right at the center of the parking lot surrounded by a sea of parked cars\, the right way up\; the artist has also installed a painting station for ch ildren in the exhibition foyer.

The exhibition has been arranged in collaboration with the Serpentine Gallery\, London and the Bawag Founda tion in Vienna.