unfolding the printed invitation to kunibert fritz’ exhibition at editon & galerie hoffmann in 1989/90 is an experience of what one is going to read. wolfgang schmidt placed—what eugen gomringer in his exhibition text calls—a “limiting element” on the left side of the invitation. in the manner of kunibert fritz’ early prototype canvases on view then and virtually here, the element is to highlight a perceptual necessity and field of experimentation for concrete art: a figure-ground organization.
the “perceiver” rather than an “observer” is demanded
from the first “prototypes” the “dyptichon” developed consequentially, i.e. the union of two rectangles with a subtly balanced distance between them. as a result the unoccupied centers are doubled, i.e. the lateral boundaries now reach across the space to the neighboring canvas as it was described by gestalt-psychology with “active reshaping of shapes.” at this stage kunibert fritz also used color—the three primary colors—and in this way creates new, multiple relationships by coordinating the colored edges, but also the colored inner surfaces across several prototypes, into compositions. he himself speaks of “beat, rhythm, sound, melody” and deliberately alludes to musical means of design. […]
with the relational compositions, which enable the two primary forms “prototype” and “dyptichon”, the artist has created a promising starting point. this plain principle can be further generated. the sequences can be continued as well as—intensively instead of extensive—significant means of design can be moved towards the inside of the square. the result are images that define the three hitherto known squares by means of colored “edge strips” inside the vertical rectangle of the “prototypes”. at the same time, the images are also set in relation to each other through color and irritating “shifts”—creating such an image [of multiple canvases], it becomes a new “overall image” encompassing a multitude of relationships hard to pin down. […]
among the numerous new concepts of concrete art that have updated this movement over the past two decades, more and more those emerge, which set aesthetics and the biological-physiological phenomena in relation. appearance, which—again in accordance to josef albers—alone is not deceiving, in contrast to the vernacular, is the agent. for the human eye a pole standing in water appears be broken. we know that this is a delusion. a significant part of exact art locates itself in this area, between knowledge and perception. kunibert fritz’ work and research independently contributes to this field. his contributions are particularly sound as they use well-known design tools and it is precisely through them that new ways of seeing in concrete art have to prove itself. the “perceiver” rather than the “observer” is demanded. sensitization through exact art is the contribution to the re-evaluation of meanings. kunibert fritz is working on this chapter in an extraordinarily differentiated manner.
eugen gomringer, 1989 (excerpt, translation from the original german)