the square as a democratic form in which all sides are the same, with no top or bottom, no right or left, the determinations taking place within this framework, the framework not as a collecting basin for small parts, but itself as an selected part of a form that draws its laws from this, vertical, horizontal, diagonals, intersections, grids, parallels, filled with squares that can be stacked to form bars, in colors of the same intensity and the same contrasts, often black and white, rhythms in rules, musical images, a call to move, no silence, kunibert fritz, the calm painter with the drums ...
jan daniel fritz, his son, has now made a catalog with him and says:
“the squaring of the square has fascinated my father, kunibert fritz, for 60 years. to this day it compels him to aestheticize the square. his multi-layered ‘investigations,’ as one might call the pictures, are the proof of this. fortunately, crises are also sometimes opportunities. i took the opportunity of the coronavirus crisis and the suddenly available time to work intensively with kunibert's oeuvre, to photograph it, to archive it and to talk to him about it. in the process I realized how consistently he had dealt with one theme, one form, over the years. sometimes the square is at the center of the work, sometimes it is the micro-element from which a large symbol or a regularity develops. the canon of his work always takes place in a square grid, which he has never left. the story that as a pupil he drew his city drawings of frankfurt on graph paper appears in this context as a premonition of what has been ‘orchestrated’ by him for us since the 1960s. eugen gomringer describes this in a catalog text, referring to the musical character of kunibert's work.
as a teenager i can well remember him listening to the music of steve reich and other composers while painting, music which was categorized as ‘minimal music.’ the diversity of his work is astonishing considering the restrictions he sets himself. he calls it ‘conservative’ and by that he means that he will not exceed certain limits. in only some of his more recent works does he depart from the underlying formula and follow his intuition, but still not departing from the grid.
after dealing so closely with my father's work i am very happy and grateful that there is now the opportunity to get an overview of it in an exhibition. something to look forward to. but one thing is clear: we can wait a lifetime to find a circle... "

our choice of disobedient square as a theme is meant as a contradiction. the works show very clearly how you can break out of the framework of the square with your own rules, the contradiction refers to the origin, nothing is destroyed here, no paint runs over the edge, nothing eats away at one edge, but the square gets new opportunities, conscious attraction. other feelings are awakened, so i become aware of my upbringing, i'm happy that the square in camille graeser's picture is tilting out of the row of squares, i unconsciously want to push it back into the row, when tidying up in the evening, i'm afraid that bob bonies large color form will tip over, look at the rules with which it is tilted, iI am glad that the form is leaned securely, if i look at the picture later, i am happy that the square is still leaning safely, even if i know that it is a white picture with a form painted red. i'm curious to see how the irony will be seen of the square of cord stretched around 4 nails and the light square with deliberate suspension. both squares hang on a nail. the misleading title, as if the one nail were the most important. this with jan van munster's work.
the joy of the many levels in timm ulrichs’s “lot bild”. the vertical line does not lose its balance, and the heavy plumb which requires gravity to pull it to the earth, timm ulrichs, who uses a magnet on the side to pull this line crookedly out of its perpendicular - that's the art - and achim czemper's answer, he tilts the whole room in order to make the crooked line vertical again, in framework of the design. or with eric snell, whose kitschy golden picture frame is burned in a corner in order to use this charcoal to paint the mythical black square in the emptiness of the picture - nothing is lost - each time you look at it, you see more, as in attila kovacs, who winds into a larger, fanned-out, square grid drawing, from bottom to top and left to right, a white circular shape, only seemingly symmetrical in structure, see the outer edges, certainly with a wild inner life of connecting lines. obedient and disobedient,
hand in hand, but suddenly expanded by quotations, fear, irony, joy, consciously taking it at its word. or hans-jörg glattfelder, who simply leaves the visual system with non-euclidean geometry and much more ...