Invited Artists

Pawel_Althamer | Michael_Asher | Nairy_Baghramian | Guy_Ben-Ner | Guillaume_Bijl | Martin_Boyce | Jeremy Deller | Michael_Elmgreen und Ingar_Dragset | Hans-Peter_Feldmann | Dora_Garcia | Isa_Genzken | Dominique_Gonzalez-Foerster | Tue_Greenfort | David_Hammons | Valérie_Jouve | Mike_Kelley | Suchan Kinoshita | Marko_Lehanka | Gustav_Metzger | Eva_Meyer und Eran_Schaerf | Deimantas_Narkevicius | Bruce_Nauman | Maria_Pask | Manfred_Pernice | Susan_Philipsz | Martha_Rosler | Thomas_Schütte | Andreas_Siekmann | Rosemarie_Trockel | Silke_Wagner | Mark_Wallinger | Clemens von Wedemeyer | Annette_Wehrmann | Pae_White


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Hans-Peter Feldmann

*1941 in Hilden, lives and works in Düsseldorf

Project: Public Toilet Facilities at the Domplatz

By the mid-1950s, the reconstruction of Münster’s town center had been completed. Around this time, the public toilet facilities underneath the Domplatz were built, with an entrance on the left for “Men” and on the right for “Women.” The facilities are used by a large number of people, and not just on the three days of the week that the Domplatz is transformed into an outdoor market. Despite this fact, the public toilets were last renovated in 1987 on the occasion of the Pope’s visit to the city.

Today, however, when visitors go down the steps, they are in for a surprise, for they will encounter neither the unpleasant smell nor the monotonous color scheme so typical of such locations. Hans-Peter Feldmann, a Düsseldorf-based representative of democratic conceptual art, is convinced that public toilets should be well-cared for and pleasant to use. Thus, for skulptur projekte münster 07, he has collaborated closely with city officials to have the facilities redesigned to include high-quality ceramics, colorful tiles, and two large-format pictures. And, following Hans-Peter Feldmann’s clear idea of what the word “public” should mean, people are able to use the facilities at no charge.


Hans-Peter Feldmann is convinced that art is, a priori, the product of a certain time and place. He, therefore, works in a historical perspective, without, strictly speaking, being a historian. Feldmann's art is based on the collection and re-arrangement of the archive of photographs, pictures, and objects emanating from our daily lives. Artistic postcards, pictures of nude women, shoes, postcards of sunsets, newspaper photos, calendar pages etc. are the materials he uses. They form the basis of the analogies he recounts and presents to us. His own black and white photographs seem to refer to cities in a rather trivial approach: the urban arrangement of buildings, streets, cars, and people. Like a self-commissioned fieldworker, Feldmann compiles photographs into books. His anthologies summarise the circumstances and conditions in particular cities, and become pictures of a particular period.

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