#Ferdinand Kriwet

[lascitasdelashoras]

Ferdinand Kriwet - Schrift und Bild Schrift en beeld L’art et l’écriture Art and writing, Typos Verlag, Edited by Dietrich Mahlow, Frankfurt am Main, 1963. Design Wolfgang Schmidt. With contributions by Jean Arp, Hugo Ball, Herbert Bayer,

[slack-wise]

Ferdinand Kriwet. Rundscheibe IX (1962)

[doomandgloomfromthetomb]

Fielding Daws - All I Know's What I Hear

Recommended cassette! My friend and neighbor Michael Klausman made this beautifully odd / oddly beautiful sample collage for the great Love All Day label, and I wrote a little blurb to go along with it. Here's the blurb!

Beamed in from Colorado’s Front Range, Fielding Daws’ All I Know’s What I Hear is a sample-based fantasia concocted by poet/publisher/collector/DJ Michael Klausman. It’s a kaleidoscopic affair, drawing inspiration from early primitive loop pieces by J.O. Mallander, Peter Roehr and Ferdinand Kriwet, as well as the ’80s cassette underground. If that all sounds a tad esoteric, have no fear. The album’s primary mode is one of sheer playfulness, as Klausman mixes and mashes an array of divergent sources, some obscure, some very much not obscure, some musical, some speech based. Throughout, he puts wildly different voices in conversation with one another, delighting in the strangely bewitching results, whether it’s the slo-mo soul dream of “You Without You” or the dangerously danceable grooves of “Grown Wheat In Your Null” or the helter-skelter boogie-woogie of “Karot.” There are moments that feel relentlessly repetitive at first blush, but the sounds eventually begin to transform into subtle shapes the deeper you sink into them, uncanny rhythms and occasionally comical juxtapositions emerging at a brisk clip. You can feel the seams in the songs here, the rivets (barely) holding the structure together; these are samples, yeah, but there’s an element of thrilling high-wire performance art, with the lo-fi nature of many of the recordings adding rich, enveloping textures. Mistakes are made, jolting you out of whatever reverie you might have fallen into — and then they’re instantly embraced as part of the process, a necessary breaking of a spell. Listen in, and you’ll hear plenty you didn’t know previously.

[vorvoros]

Ferdinand Kriwet

Rundscheibe IX, 1962-1963

[gacougnol]

Ferdinand Kriwet

Visual Poetry

[onceuponatimetheworldwasround]

Ferdinand Kriwet, Poesia Concreta / Konkrete Poesie, Goethe-Institut, München, 1974

[toomanydesign]

Ferdinand Kriwet

[stellavista]

ferdinand kriwet, button 1c. 1967

[thunderstruck9]

Ferdinand Kriwet German, b. 1942), Poem-Painting No. 1, 1964. Acrylic on canvas, 100 x 200 cm.

[asense0fnothing]

Thirty-two silkscreened plates of concrete and visual poetry by Herman de Vries, Adriano Spatola, Haroldo de Campos, Timm Ulrichs, Ferdinand Kriwet, Arrigo Lora Totino, Mirella Bentivoglio, Reinhard Dohl, Eugen Gomringer, Hans Clavin, and E. M. de Melo e Castro among others. ‘exempla: documenti di poesia concreta e visuale / documents of concrete and visual poetry’, edited by Maurizio Nannucci, 1970. Edition of 200 housed inside a black paper slipcase and complete with an essay on the evolution of experimental poetry. 

[gdbot]

Ferdinand Kriwet, ZUVERSPAETCETERANDFIGURINNENNENSWERT OLLOS,... https://ift.tt/2FLPXe7

[uncannynormal]

Ferdinand Kriwet

Rundscheibe IX, 1962

https://zkm.de/en/artwork/round-disk-ix

[horizontaldrawing]

ferdinand kriwet

[theideaofthebook]

A narrative without punctuation nor page numbers, and without a beginning, middle, nor an end. Ferdinand Kriwet’s ‘Rotor’, published in 1961 at age nineteen. Read more at theideaofthebook.com or DM for information.

[softwareverywhere-blog]

First published by the legendary Something Else Press in 1967, An Anthology of Concrete Poetry was the first American anthology on the international movement of Concrete poetry. The movement itself began in the early 1950s, in Germany–through Eugen Gomringer, who borrowed the term “concrete” from the art of his mentor, Max Bill–and in Brazil, through the Noigandres group, which included the de Campos brothers and Decio Pignatari. Over the course of the 1960s it exploded across Europe, America and Japan, as other protagonists of the movement emerged, such as Dieter Roth, Öyvind Fahlström, Ernst Jandl, bpNichol, Mary Ellen Solt, Jackson Mac Low, Ian Hamilton Finlay, Bob Cobbing, Dom Sylvester Houédard, Pierre Garnier, Henri Chopin, Brion Gysin and Kitasono Katue. By the late 1960s, poet Jonathan Williams could proclaim: “If there is such a thing as a worldwide movement in the art of poetry, Concrete is it.” The work of the 77 writers collected in this anthology varies greatly in its aims and forms, but all can be said to emphasize the visual dimension of language, manipulating individual letters and minimal semantic units to produce poems that are for contemplating as much as for reading. Emmett Williams, the book’s editor, added explanatory commentary for the poems and biographies of their authors, making this volume–long out of print–the definitive anthology of this movement, which has so influenced artists and writers of subsequent generations.

Writers and artists included: Friedrich Achleitner, Alain Arias-Misson, H. C. Artmann, Ronaldo Azeredo, Stephen Bann, Carlo Belloli, Max Bense, Edgard Braga, Claus Bremer, Augusto de Campos, Haroldo de Campos, Henri Chopin, Carl Friedrich Claus, Bob Cobbing, Paul de Vree, Reinhard Döhl, Torsten Ekbom, Öyvind Fahlström, Carl Fernbach-Flarsheim, Ian Hamilton Finlay, Larry Freifeld, John Furnival, Heinz Gappmayr, Ilse and Pierre Garnier, Matthias Goeritz, Eugen Gomringer, Ludwig Gosewitz, Bohumila Grögerova and Josef Hiršal, José Lino Grünewald, Brion Gysin, Al Hansen, Václav Havel, Helmut Heissenbüttel, Åke Hodell, Dom Sylvester Houédard, Ernst Jandl, Bengt Emil Johnson, Ronald Johnson, Hiro Kamimura, Kitasono Katue, Jiri Kolar, Ferdinand Kriwet, Arrigo Lora-Totino, Jackson Mac Low, Hansjörg Mayer, Cavan McCarthy, Franz Mon, Edwin Morgan, Maurizio Nannucci, bp Nichol, Hans-Jørgen Nielsen, Seiichi Niikuni, Ladislav Novák, Yuksel Pazarkaya, Décio Pignatari, Vlademir Dias Pino, Luiz Angelo Pinto, Carl Fredrik Reuterswärd, Diter Rot, Gerhard Rühm, Aram Saroyan, John J. Sharkey, Edward Lucie Smith, Mary Ellen Solt, Adriano Spatola, Daniel Spoerri, Vagn Steen, Andre Thomkins, Enrique Uribe Valdivielso, Franz Van Der Linde, Franco Verdi, Emmett Williams, Jonathan Williams, Pedro Xisto and Fujitomi Yasuo.

[archivefuture]

Apollovision

During the 1960s and 70s Ferdinand Kriwet made art works for broadcast, publication and performance alongside writing Concrete poetry. Apollovision also exists as a book and an audio piece documenting the Apollo 11 spaceflight in 1969. Kriwet, who was in US at the time of the launch, filmed the story via its channels of dissemination in the American media, referring to the piece as a "bild-ton-collage" or "sound-picture-collage." Ferdinand Kriwet is a multimedia artist and poet who has produced many seminal films and sound works for radio and television, in particular throughout the 1960s and 1970s. Kriwet created the work Apollovision whilst in America at the time of the Apollo moon launch, his aim being to compose a work derived from all the information he gathered on radio and television about the Apollo 11 launch.

Kriwet is most well know for his sound collages, originally broadcast on German radio. He describes these works as 'H??rtexts / Radio Texts - pieces composed of noise, sound bites and samples, which include 'Apollo America' (1969), 'Voice of America' (1970), 'Campaign' (1973), all snapshots of American media at the beginning of the 1970s and 'Radioball' (1975) and 'Ball' (1974), reflecting soccer sports in Germany in the 1970s. His politically engaged and avant-garde approach was influenced by aesthetic and Conceptual currents in Constructivism, New Music, Beat Generation and Pop.