B. 1960 in Oberneukirchen, Austria, lives and works in Berlin.
Friedl’s multifaceted works and projects—consistently heterogeneous in terms of medium, style, and meaning— have been repeatedly acknowledged as models: as exemplary articulations and solutions of aesthetic problems involving political and historical awareness. Drawing in its largest sense plays a fundamental role in Friedl’s oeuvre, as a lyrical voice and as the medium of continuous sublation. Friedl uses the authenticating medium of the handmade drawing as a way to document and comment on both personal and socio-political histories, always on the fringes of potential global counter imagery.
The motifs in his drawings encompass a wide range, from autobiographical, rather private notes, the “political unconscious” of the early drawings, through to numerous historical and phantasmagorical portraits in recent years, including, among others, those of the legendary Algerian militant Djamila Bouhired, Chinese feminist heroine Qiu Jin (1875–1907), Polish-Jewish historian and archivist Emanuel Ringelblum (1900–44), African American business woman Madam C.J. Walker (1867–1919), 19th century feminist Flora Tristan (1803–44), or Soviet partisan Zoya Kosmodemyanskaya (1923–41).
Untitled 1992, 12. July 1992
pencil and gouache on paper
23.9 x 33 cm (unframed)
40 x 50 cm (framed)
Peter Friedl is an artist working in situ. He has been shown in numerous solo and group exhibitions at Erna Hecey Gallery since the 1990s in Luxembourg and Brussels. Selected solo exhibitions include: Teatro Popular, Lumiar Cité, Lisbon (2017); Centre d’art contemporain – la synagogue de Delme, France (2014); Artspace Auckland, New Zealand (2014); Le Lieu unique, Nantes, France (2013); Kunsthalle Basel, Switzerland (2008); the retrospective survey Work 1964–2006, MACBA, Barcelona, Spain / Miami Art Central, Miami, FL / Musée d’Art Contemporain de Marseille, France (2006–07); and Witte de With, Center for Contemporary Art, Rotterdam, NL (2004). International group shows include Museo Nacional Centro de Arte Reina Sofia, Madrid (2017, 2014); Castello di Rivoli, Turin (2014, 2012); Hamburger Kunsthalle (2012, 2010, 2004); Van Abbemuseum, Eindhoven (2008); Walker Art Center, Minneapolis (2007, 2003, 2000); Museo Tamayo, Mexico City (2006), and MoMA PS1, New York (1999). He has participated in the 1st Anren Biennale (2017), Bienalsur, Buenos Aires (2017); documenta 14 (2017), documenta 12 (2007), documenta X (1997); Taipei Biennial (2012 and 2016); the 48th and 56th Venice Biennale (1999, 2015), 10th Shanghai Biennale (2014), 12th São Paolo Architecture Biennale (2013), La Triennale, Paris (2012); 28th Bienal de São Paulo (2008); Manifesta 7, Rovereto (2008); 2nd International Biennial of Contemporary Art, Seville (2006); and the 3rd Berlin Biennial (2004). His exhibition Documents at Erna Hecey Brussels (2007) was taken over as part of Okwui Enwezor’s 7th Gwangju Biennale A Year in Exhibitions in 2008.
Since the 1980s, Peter Friedl has published numerous essays and book projects such as Four or Five Roses (2004), Working at Copan (2007), and Playgrounds (2008). A large selection of his writings and interviews was published by Sternberg Press under the title Secret Modernity.
Prank sombody with the fake Windows 10 upgrade screen which never ends. Open the site in a web browser and go full screen with the F11 key.