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Postcards, 2007

Color photographs

Peter Friedl, Postcards 2007 (Avignon, 27 August 1976), 62 x 83 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Dun Laoghaire, 12 August 1976), 62 x 83 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Garnish Island, 18 August 1976), 62 x 83 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (The Cliffs of Moher, 22 August 1976), 62 x 83 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (London, 26 August 1976), 62 x 83 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (London, 26 August 1976), 62 x 83 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Bamberg, 8 August 1976), 62 x 83 cm, ed. of 7 + 2 AP

7 color photographs
62 x 83 cm each
Edition of 7 + 2 AP
Installation view title: 7th Gwangju Biennale, 2008

Peter Friedl, Postcards 2007 (Schöftland, 12 September 1963), 83 x 62 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Schöftland, 16 September 1963), 83 x 62 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Schöftland, 19 September 1963), 83 x 62 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Schöftland, 3 October 1963), 83 x 62 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Schöftland, 9 October 1963), 83 x 62 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Schöftland, October 1963), 83 x 62 cm, ed. of 7 + 2 AP
Peter Friedl, Postcards 2007 (Schöftland, 17 October 1963), 83 x 62 cm, ed. of 7 + 2 AP

7 color photographs
83 x 62 cm each
Edition of 7 + 2 AP

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Peter Friedl

Peter Friedl is a classic of contemporary art. The three-time documenta participant, born in 1960, can be considered a notorious participant in discourse - because his work has always understood how to address major themes in such a way that they found and find new forms away from the canon and mainstream. Forms that run counter to power and domination, subvert them, escape them.... and confront them in the process. Friedl takes away from history - for example colonialism or modernity, its paradigms and institutions - the power to define what is connected and how, and with an almost innocent-seeming aesthetic he tells a different story about humans and historical actions than we are used to and may find opportune. Peter Friedl provokes that which dominates us, including our own thinking.



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