Rehousing is the title of a series of works by Peter Friedl which comprises a selection of individual, intricate, and true-to-scale models of houses. Collectively, these structures materialize as constructed environments that reflect the recent past, different biographies, and ideologies in diverse ways; they are “case studies for the mental geography of an alternative modernity.”

Since the early 1980s, Friedl has written on a variety of subjects. The book Secret Modernity: Selected Writings and Interviews 1981–2009 compiles for the first time a representative selection of his (partly unpublished) texts, along with a series of interviews.

Wie in seinen künstlerischen Arbeiten zitiert und bearbeitet Friedl auch in seinen Texten die verschiedensten Genres. Es finden sich darunter Rezensionen und Portraits von George Sand und Clarice Lispector, von Theo van Doesburg, Alighiero Boetti und Jean-Luc Godard, Beiträge und Dokumente zur Theater- und Filmgeschichte, wie etwa zum symbolistischen Theater oder zur Arbeit von Richard Foreman, Robert Wilson, Lucinda Childs, Yoko Ono und Glauber Rocha, sowie Kommentare und Reflexionen zu den eigenen künstlerischen Projekten.

Working at Copan collects interviews with workers and employees at Edifício Copan, a landmark modernist architecture in the center of São Paulo. Designed by Oscar Niemeyer and completed in 1966, it became the largest residential building in Latin America. As a historical building and symbol of “vertical utopia,” it embodies an era of radical political and economic changes within Brazilian society.

In Four or Five Roses, some 45 narratives by children are presented in the form of a monologue. Edited from numerous interviews and conversations recorded on playgrounds in South Africa, Peter Friedl creates a hybrid genre that is both fictionalised speech and serious counter-voice.