• Hans-Peter Feldmann, untitled, n.d.

    Hans-Peter Feldmann, untitled, n.d.

    Hans-Peter Feldmann

    Fundació Antoni Tàpies
    Aragó 255
    November 22, 2001–January 27, 2002

    Museum Ludwig
    May 29–August 11, 2002

    Centre National de la Photographie
    Hôtel Salomon de Rothschild 11 rue Berryer
    February 20–May 13, 2002

    Hans-Peter Feldmann’s artistic bio commences with his decision to abandon painting in 1968; photographs, he stated, were “entirely sufficient” to convey the idea of his art. Out of a conceptual preoccupation with reproducible images came a trove of mass-media artifacts, amateur photos, and the artist’s own shots, all of which he categorizes and processes in booklets, posters, journals, and photographic series. This survey is intended as an overview of the transition from Feldmann’s approach in the ’70s—he is frequently touted as a forerunner of appropriation art—to the “social and political reality of the nineties.”

  • Hélio Oiticica, Neyrótika, 1973.

    Hélio Oiticica, Neyrótika, 1973.

    Hélio Oiticica: Quasi-cinemas

    Wexner Center for the Arts
    The Ohio State University 1871 North High Street
    September 18, 2001–December 30, 2002

    Kölnischer Kunstverein
    Die Brücke Hahnenstraße 6
    February 16–April 4, 2002

    New Museum
    235 Bowery
    July 26–October 13, 2002

    In this survey organized by the Wexner and coproduced by the Kölnischer Kunstverein and the New Museum in New York, curator Carlos Basualdo focuses on Hélio Oiticica’s “quasi-cinemas,” photo-based work like the “Block-Experiments in Cosmococa”— projected images of pop figures (Monroe, Hendrix, Buñuel) superimposed with drawings executed in cocaine. The Brazilian Conceptualist’s only film, Agripina e Roma Manhattan, and the slide show Neyrótika, shot in New York, are also being screened. The catalogue offers essays by Basualdo, Brazilian film historian Ivana Bentes, and New Museum senior curator Dan Cameron as well as little-translated writings by the artist.