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Artists Hannah Weinberger and Ferdinand Kriwet exhibit at Fri Art
Hannah Weinberger, exhibition view. ©Primula Bosshard.

FRIBOURG.- Fri Art is presenting the solo exhibitions of artists Hannah Weinberger (Switzerland, *1988) and Ferdinand Kriwet (Germany, *1942).

For her first major exhibition in French-speaking Switzerland, Hannah Weinberger creates a custom-made work for the largest floor (le Rez) of the Kunsthalle. The first floor, meanwhile, is given over to an exhibition of the works, both past and present, of Ferdinand Kriwet. This is the first time that the German artist exhibits in Switzerland.

Hannah Weinberger
Hannah Weinberger belongs to a generation of artists who use digital technologies pragmatically, viewing them as tools rather than as objects of either veneration or opprobrium. Through her sound art and works composed on her computer, the artist creates immersive installations which, on the surface, are nothing more than sound distribution systems. It is the viewers who generate the sensory experience simply by drifting and moving through this constantly changing environment. Hannah Weinberger is also known for her collaborative works, both with fellow artists and those outside the art world. For example, her performance pieces at the Liste Basel 2013 featured a local street panpipe player.

Ferdinand Kriwet
In the mid-1960s, Ferdinand Kriwet brought experimental poetry to three dimensional platforms – museums, art galleries and even public spaces – in the form of films, paintings, books, installations and performance pieces. His solo exhibition at Fri Art features artists’ books, slideshows and films from the late 1960s, as well as a series of 10 visual poems from the earlier half of the decade (1960-1963), which he made with stamped letters. Also on show are several large-scale artists’ books, which date from the last eight years and were produced on a photocopier. The work and experiments of Ferdinand Kriwet reflect the permeability that emerged between media and disciplines during the first half of the 20th century. From then until the late 1970s, artists would constantly seek to challenge the prevailing spatial and institutional conventions through their work. Like other thinkers and artists of his generation, such as Vito Acconci, Umberto Eco, Dick Higgins, Achille Bonito Oliva, Dieter Roth or Daniel Spoerri, Ferdinand Kriwet cut his teeth in the world of concrete poetry, the book page dealing as a field of experimentation in miniature. Through these practices they sought to break up the established order and expand one space into the next, and one medium into another.

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