Hans-Peter Feldmann began Time Series at the beginning of the 1970s. Using rolls of 36-shot analogue film for each sequence, he made series of consecutive shots of a single subject: situations with little or no dramatic or narrative weight, such as a woman cleaning a window, a boat floating down a river or a man reading a paper. These mundane scenes were used by Feldmann as an attempt to contain the passage of time within the series. The Time Series bring together recurrent themes in Feldmann’s work: on the one hand, there is everyday life as a source of inspiration, since Feldmann feels that the everyday is governed by different rules from those governing the capitalist social space; on the other is working in series, which arose from his belief that individual images (which form the basis of art history) are overloaded with content and end up elitist and self-involved. As Feldmann himself said: “The mood of a whole series is more important than an individual picture. When things are repeated, then there’s an average value that’s more correct than an individual picture can be.” Feldmann has admitted to being influenced by the Dadaists, the Situationists, Fluxus and the Viennese Actionists, a series of inspirational sources that can be seen in his use of photography as a tool for expressing more complex hypotheses.
Concha Calvo Salanova