Brushed by Hand, Polished by Feet

18.12.2020 / Marius Schwarz

Stone by stone Freiburgs pavement reveals more of its own history.


Brushed by Hand, Polished by Feet

18.12.2020 / Marius Schwarz

In the name of modernisation Freiburg invested in a convoy of hybrid electronic sweepers in 2012. Soon after they were introduced it occurred that next to trash and dirt they also sucked up much of the sand from the joints of the city’s historic pavement. In response the department of civil engineering had to re-fill the streets with sand up to 5-6 times a year which amounted in enormous annual costs. As usual when progress and history clash, a compromise had to be made. Eventually the city cleaners were asked to turn off their brand new sweepers on historic pavements and go back to using the hand broom instead.

Road workers paving a road with natural stones, Freiburg ca. 1945 to 1955

Paving has been a part of Freiburg since the 19th century. Stone by stone its squares, streets and side walks were laid out, in structured or wild patterns, partly decorated or lined with ornaments. The pebble for paving used to be harvested at low tide at the river banks of Breisach where they were carried over centuries. Travelling from the alps of Switzerland, through the lake of constance and down the Rhine they were grind into the characteristic flat ellipses. Due to their different minerals, they came in a variety of color shades which made them a perfect material for complex designs.

Harvesting stones at the river, © Stadt Freiburg, Garten- und Tiefbauamt

Next to streets and squares the pavers were asked to lay out mosaics to highlighting certain landmarks in the city. Some of them showed coats of arms in front of official buildings or icons and logos in front of businesses, others referred to the date of their construction or were purely ornamental. The first paver who made these signs of stone was allegedly Alois Krems (1825-1881), who is said to have picked up the technique during his wandering years in the South of France. The oldest preserved example is the “1899” inscription in Gerbergasse. It is also the only mosaic officially listed and protected as a monument. Since the beginning paving was officially neither considered as architecture or art. Up until today it remains a grey area and their design and execution stays in the responsibility of each paver.

Paver working on scissor mosaic, © Stadt Freiburg, Garten- und Tiefbauamt

When Freiburg was bombed by the Royal Air Force in 1944 the paving tradition came to a sudden halt. 80% of the cities buildings were destroyed as were 38km of its streets. Fortunately much of the wreckage got preserved and stored. While other destructed cities decided to rebuild their streets with cheaper concrete or asphalt in the years after the war, Freiburg revived its costly tradition, reusing much of the old substance.

Bauhof Freiburg, Andreas Schwarzkopf, 2014, CC BY-SA 3.0

Today street maintenance falls under the jurisdiction of the department of civil engineering and its employees. At their premises just outside town all sorts of stones are stored, sorted by colours and sizes, some still dating back to the war. Since the pebble stocks of the banks of Breisach are almost exhausted, they are especially precious. The department categorizes them in three sizes with their very own stencil unit. The sizes relate to the amount of square meter a paver is expected to lay in a work day. Stones of size 3 equal about 3sqm a day, stones of size 1 equal 1sqm. Based on this unit the department matter-of-factly calculates the costs of the pavement and the wage of the paver.

Stencil to sort stones by size, „Faszination Freiburg“, © SWR 2020

While the mosaics used to be paved directly into a bed of sand in the streets, today they are prepared in the workshop during the winter months. In day to day business the work on mosaics mainly concerns renovations. Every now and then new mosaics are are commissioned by business owners who want to advertise their new stores, or by the city, for instance on the inauguration of new twin cities. If there is an already existing design, the pavers develop detailed plans to set them in stone. If there is none, they are free to develop and draw their own designs based on ideas that came up in talking to the clients. With the aid of wooden stencils the mosaics are assembled inside big steel pans. Layer by layer the stencil parts are removed and filled with stones. In the end the mosaics are laid into the street in in one piece.

In the workshop, „Faszination Freiburg“, © SWR 2020

When the work on a mosaic is done the wooden stencils are put into storage. The new mosaic in the street will be hand broomed by city cleaners to make sure moss can settle in the joints and harden the sand. Over the years the shoes of thousands of Freiburg's pedestrians will polish the stones and give them their characteristic matt shine.

Stencil storage, Andreas Schwarzkopf, 2014, CC BY-SA 3.0

Most people will walk past the pavings without giving them much thought. Once in a while someone will briefly stop and note the subtle execution or wonder about the origin of their design. Bit by bit the pavement can reveal more of its story: the long journey of the pebble; the destruction of the war and the efforts of reconstruction; the unforeseen compromises from maintaining tradition in modern times; the devotion, craftsmanship and the creativity of the anonymous paver.

Mosaic in front of “Penny” supermarket, Andreas Schwarzkopf, 2012, CC BY-SA 3.0
Marius Schwarz and Ronja Andersen have been developing the graphic design for the Biennale für Freiburg #1. In this process, the historic pavements of Freiburg as well as graffiti and tags covering the city walls were an important point of reference.


24.09.2020 / BfF #1

The walk through the Stadtgarten. In the front a statue by Till-Peter Otto, that has been damaged since 2014. Photography: Marc Doradzillo.

On-site tour and first public announcement of Biennale für Freiburg #1.



24.09.2020 / BfF #1

On-site tour and first public announcement of Biennale für Freiburg #1.

During the on-site tour at Stadtgarten the newly conceived Biennale für Freiburg, as well as the concept of its inaugural edition were presented for the first time – a light kick-off for BfF #1, which will take place next year in two phases: the first between May and July 2021 with the Studio Program, and a second one in September 2021 with a public exhibition at various locations throughout Freiburg, accompanied by a rich program of events. We are grateful to everyone who came to Stadtgarten on the 24th of September despite the difficult weather conditions on that day!

Announcement of Biennale für Freiburg in the Musikpavillon at Stadtgarten. Photograph: Marc Doradzillo.

Heinrich Dietz, director of the Kunstverein Freiburg and chairman of the association Perspektiven für Kunst in Freiburg e.V., which is responsible for the BfF. Dietz recapitulates how the conception of a new biennial came about through an initiative by Freiburg artists and cultural practitioners. This initiative started as a reaction to the closure of the Freiburg satellite campus of the Academy of Fine Arts Karlsruhe in 2017, which had been an important institution for art education in Freiburg since the 1950’s. The initiative developed into a program that contained several demands for the improvement of the contemporary art scene in Freiburg. These demands were included in the municipal’s budget with the support of the first mayor of Freiburg Ulrich von Kirchbach. It was agreed upon that Freiburg was in dire need for new impulses in the contemporary scene, after the closure of the public art school and that this could be generated through the format of a temporary exhibition, taking place also in public space. This measure was envisioned as a compensation, but – importantly – not a substitute for the academy. The initiative led to the formation of a smaller working group, which today for acts as the board of the association that is organizing BfF, consisting of Heidi Brunnschweiler, Heinrich Dietz, Julia Galandi-Pascual and Ben Hübsch. The next step after the formation of the board, was the appointment of Leon Hösl as Artistic Director to conceive the curatorial concept of the first edition and implement the vision of the initiative put forward by Freiburg’s cultural scene.

Heinrich Dietz: "When I look at the coherent concept for the first edition of the Biennale für Freiburg, I am convinced that it will set off impulses with an effect both on the city and beyond. One thing is certain: the first edition of the Biennale will be a new and important step – but hopefully not the only one – towards enriching the cultural life of the city through contemporary art in a sustainable way".

Heinrich Dietz, Chariperson of the associatoin Perspektiven für Kunst in Freiburg e.V., that organizes BfF. Photography: Marc Doradzillo.

For Leon Hösl, Artistic Director, the name of the new format, Biennale für Freiburg, already hints at its programmatic orientation:

"The designation as a "Biennale" stands for a continuity that, unlike other short-term projects, enables an ongoing engagement with art in the city of Freiburg. It is not a matter of seeking comparison with the largest biennials in the world, but of creating a framework for artists to react to Freiburg over and over again, but also differently every time. The preposition "Für" (“for”) in Biennale für Freiburg implies that the locality of Freiburg should determine the thematic orientation of each edition. "Für Freiburg" is thus also to be understood as an opportunity to think about and react to the local context from an external perspective; to identify needs and respond to them, but also to point out problems and address them directly. This relationship between the Biennale für Freiburg and the city of Freiburg is actually already summed up in the acronym “BfF” - BFF, BEST FRIENDS FOREVER.

Leon Hösl, Artistic Director of Biennale für Freiburg. Photography: Marc Doradzillo.

Christoph Chwatal and Fritz Laszlo Weber – part of the curatorial advisory board, which has been extensively involved in the conception and programming of the BfF – present the working methods of this group. The three other members, Aziza Harmel, Fanny Hauser and Magdalena Stöger, could not be present due to the current travel restrictions concerning COVID-19.

A statementput forward by the curatorial advisory board contains the following excerpt: “In its form and structure, the advisory board contributes to bringing together differently situated perspectives on the development of a Biennale für Freiburg. The word 'for' is a preposition, a relational word. It stands before the actual expression—just as we stand before the actual event, the Biennale für Freiburg 2021. Prepositions can carry local, temporal or causal meanings or serve to mark grammatical relations. As a Curatorial Advisory Board, we see our task in assisting the Biennial by shaping the relationship between the ‘Biennial’, 'for' and 'Freiburg'.

Relationships are often unsteady in nature. They change. They update, renew and change. At the same time, a relationship is always based on what has been already. It builds upon its past. We understand the process of accompanying and our conversations as tools to build and form new relationships and relations. From previously informal moments of exchange, new working structures are now developing, which we would like to reveal and reflect upon as we guide the Biennial's focus along a process-based and site-specific way of working.“

The concept for BfF #1, conceived as a reaction to the aforementioned closure of the Freiburg branch of the Karlsruhe Academy of Fine Arts, takes the studio as its starting point. The aim will be to transfer processes and actions that usually take place in an artist studio to other contexts and situations. Now that the studios of the Academy of Fine Arts no longer exist, new places must be identified where art can be produced, discussed and taught. Such places can also be found in public space, and one method of accessing them is walking. Taking the work of Lucius Burckhardt as an initial loose jumping off point, walking can serve as a method of translating individual impressions into a cinematic sequence through which moving cityscapes are created that can lead to a deeper understanding of the surroundings. Or, as artist and trained journalist Rahima Gambo, describes her practice: walking as a search for other forms of reporting that do not attempt to translate the subjective experience of events into facts. Instead, walking becomes a search for another form of knowledge and how that knowledge is transmitted.

The walk through the Stadtgarten. In the front a statue by Till-Peter Otto, that has been damaged since 2014. Photography: Marc Doradzillo.

The “Ortsbegehung” took place in the Stadtpark in the northeast of Freiburg's historical center. This site formed the backdrop for a collective walk, exploring the idea of walking as a way of working in and with a public environment. It also encouraged thoughts about ways of presenting and storing collective memories in the public space. In case of the Stadtpark, it is striking how many monuments and statues are positioned in this green area – often dismantled from other places and explicitly placed here, not unlike an exhibition in a museum.

One monument commemorates the fallen soldiers of various Baden regiments in the First and Second World Wars: a gigantic column with a steel helmet on the top – called “hatstand” by the locals – an epitome of heroic masculinity. The real hero of the park is missing: the duck in the pond, which warned of air raids on the city even before the official alarm was released. His beak was damaged and is now being carefully restored. In the middle of the roses a steel in shines in pure white. A sun dial with a female body – the arms hardly recognizable, as if bound by her dress. Fragmented for some years now, she has fallen victim to vandalism at night and has lost her head, which is still missing today. Is she jealous of the drake, who is treated so caringly? Should her head also be restored, and if so how? Another gap in this park, in which so many objects of embodied memories are placed, is the memory of Rosa Luxemburg's speech. Held in 1914, she addressed a strong speech on pacifism to thousands of Freiburg man and women at this place, but there is no material form of remembrance of her – no hat stand or drake made of stone. Just a sticker on the soap dispenser of the public toilet. How can this story nevertheless become a part of this place?

Presentation of the graphic design for BfF on the walls of the Präsenzgasse, one of the most narrow streets in Freiburg. Photography: Marc Doradzillo.

The last stop took the group to what is probably the smallest street of Freiburg. Leading towards the well-known Münsterplatz, the Präsenzgasse is easily overlooked. Here the first posters announcing BfF #1 were distributed on the walls. Sign-up to our newsletter and follow this blog to learn more about the origin of the graphic design of Biennale für Freiburg and our typeface “Difficult Times”, especially conceived by graphic designers Ronja Andersen and Marius Schwarz.

All photographs by Marc Doradzillo.

Bündnis für eine gerechtere Kunst- und Kulturarbeit

15.02.2021 / Leon Hösl

Die Biennale für Freiburg unterstützt das offene Netzwerk „Kultur macht reich“, das sich auf lokaler Ebene für eine kreative und fördernde Kulturpolitik einsetzt


Bündnis für eine gerechtere Kunst- und Kulturarbeit

15.02.2021 / Leon Hösl

Bündnis für eine gerechtere Kunst- und Kulturarbeit, Baden-Württemberg
und Kultur macht reich

Die Biennale für Freiburg unterstützt das offene Netzwerk „Kultur macht reich“, das sich auf lokaler Ebene für eine kreative und fördernde Kulturpolitik einsetzt:

„Seit ihrer Gründung in krisenhafter Zeit fordert die Initiative eine weitsichtige Kulturpolitik, die das kulturelle Erbe verantwortlich weiterträgt und für neue Impulse offen ist. Unabhängig von den jeweiligen Haushaltslagen engagiert sie sich für eine rechtzeitige und angemessene Einbeziehung der Freiburger Kultureinrichtungen in die kulturpolitischen Beratungen. Die Initiative wendet sich gegen eine konfrontative Gegenüberstellung von Kulturpolitik und Bildungs-/Sozialpolitik. Diese Bereiche brauchen und ergänzen einander.“

Außerdem ist Leon Hösl, künstlerischer Leiter der Biennale für Freiburg, Erstunterzeichner des landesweiten „Bündnis für eine gerechtere Kunst- und Kulturarbeit, Baden-Württemberg“. Im Juni 2020 gegründet verstehen sich die beteiligten Akteur*innen und Institutionen als offenes, unabhängiges und disziplinübergreifendes Bündnis für gerechte, diverse und inklusive Verhältnisse im Kunst- und Kulturbetrieb:

„Was uns bewegt, sind die Sorge um die Zukunft der Künste sowie die Überzeugung, dass diese nur dann unabhängig bleiben, wenn sich die Strukturen und Bedingungen des Kunst- und Kulturbetriebs sowie für Kunst- und Kulturarbeiter:innen  radikal verändern.“

Zu den vollständigen Statements und aktuellen Informationen:

Am Montag, den 15. Februar 2021, 14 Uhr, findet das nächste große Bündnistreffen statt. Alle Interessierten, die mehr über das „Bündnis für eine gerechte Kunst- und Kulturarbeit, Baden-Württemberg“ wissen, dabei mitmachen oder mitunterzeichnen möchten, laden wir ganz herzlich ein.
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Ausschreibung: Projektassistenz

03.11.2020 / BfF #1

Die Biennale für Freiburg vergibt ab 1. März 2021 die Stelle einer Projektassistenz.


Ausschreibung: Projektassistenz

03.11.2020 / BfF #1

Projektassistenz für die Biennale für Freiburg #1

Für die Umsetzung der ersten Ausgabe der Biennale für Freiburg sucht der ausrichtende Verein „Perspektiven für Kunst in Freiburg e.V.“ ab 1. März 2021 eine*n Projektassistent*in.

Die Anstellung im Umfang von 26 Wochenstunden ist befristet bis zum 31. Oktober 2021 zu vergeben und wird mit einem Bruttolohn von € 1.500 vergütet.

Die Biennale für Freiburg (BfF) ist eine neue Plattform für die Präsentation, Entwicklung und Vermittlung zeitgenössischer Kunst in Freiburg. Anhand wechselnder Themensetzungen widmet sie sich künstlerischen Zugängen zu drängenden gesellschaftspolitischen Fragen. Ziel ist es, stetige Bezüge zur Stadt herzustellen und einen nachhaltigen Beitrag zum kulturellen und künstlerischen Leben Freiburgs zu leisten. Die Biennale versteht sich als ein Angebot für Freiburg, das die eingehende Beschäftigung mit der Lokalität in Spannung zu außenstehenden Perspektiven setzt, welche durch die Beteiligten eingenommen werden.
BfF #1 findet 2021 in zwei Phasen statt: Zwischen Mai und Juli 2021 werden teilnehmende Künstler*innen während Arbeits- und Rechercheaufenthalten in Kontakt mit lokalen Gegebenheiten treten, künstlerische Projekte konzipieren und öffentliche Impulse setzen. Im September 2021 werden diese Prozesse in einen Ausstellungsparcours und ein zunehmend verdichtetes Veranstaltungs- und Vermittlungsprogramm übersetzt. Künstlerischer Leiter und verantwortlich für die erste Ausgabe der Biennale für Freiburg ist Leon Hösl.

Diese Qualifikationen sollten Bewerber*innen mitbringen:

  • Abgeschlossenes Hochschulstudium in einem künstlerischen oder geisteswissenschaftlichen Fach.
  • Berufserfahrung in der Entwicklung und Realisierung von Ausstellungen oder anderen künstlerischen Formaten.
  • Großes Interesse an zeitgenössischer Kunst.
  • Selbständiges, zuverlässiges und teamorientiertes Arbeiten, gute Kommunikation,
    Flexibilität und hohe Organisations- Koordinations- und Umsetzungsfähigkeit.
  • Sehr gute Ausdrucksfähigkeit (mündlich und schriftlich) in Deutsch und Englisch.

Zu den Aufgaben gehört die direkte Zusammenarbeit mit dem künstlerischen Leiter bei der Organisation und Durchführung der Ausstellung und des Veranstaltungsprogramms der Biennale, insbesondere in folgenden Bereichen:

  • Mithilfe bei der Planung und Umsetzung von künstlerischen Arbeiten.
  • Kommunikation mit Künstler*innen, Kooperationspartner*innen und Firmen.
  • Koordination von Auf- und Abbauarbeiten der Ausstellungen.
  • Organisation von Veranstaltungen.
  • Selbstständige Betreuung einzelner künstlerischer Projekte.
  • Unterstützung bei der Öffentlichkeitsarbeit und allgemeinen organisatorischen Aufgaben.

Wir bieten:

  • Einblicke in zahlreiche Arbeitsfelder der zeitgenössischen Kunst.
  • Die Mitarbeit bei der Entwicklung eines neuen Ausstellungsformats.
  • Die Zusammenarbeit mit internationalen Künstler*innen.
  • Ein spannendes Arbeitsumfeld, angegliedert an den Kunstverein Freiburg.

Bitte schicken Sie Ihre Bewerbung, inkl. Lebenslauf und Motivationsschreiben bis 20. November 2020 an
Für weitere Fragen wenden Sie sich gerne an Leon Hösl,

Wir freuen uns über Ihre Bewerbung!


13.09.2020 / Biennale für Freiburg

Biennale für Freiburg (BfF) invites you to its first event. During the Ortsbegehung, an on-site visit, the conceptual and thematic approach of the first edition will be presented, tested and discussed during a collective walk.



13.09.2020 / Biennale für Freiburg

September 24th, 7 pm
Stadtgarten, Freiburg

The studio of an artist or a class of art students does not necessarily depend on a physical space. A studio is primarily a place for production, experiment and exchange. A studio can be envisioned as a place of production, experiment and exchange: a protective space for thoughts and the actions taking place within it. A space for things in the making. A space of regular review, where actions are presented, tested and reflected upon. A space where honest opinions can be expressed and skills can be developed and applied. A space for construction and destruction, for consideration and spontaneity. A studio is a place where suggestions are made.

Ein weißes Blatt auf dem drei Bleistiftlinien gezogen sind. Zwei davon ziehen Schwünge und Kreise, die mittlere fast gerade. Die mittlere Linie beginnt an drei Punkten, die zu einer Linie zusammenlaufen, die untereste beginnt an einem Punkt und endet in drei seperaten Linien an deren Ende Pfeile gezeichnet sind.

Rahima Gambo, A Walk Map, 2019

Biennale für Freiburg (BfF) invites you to its first event. During the Ortsbegehung,(on-site visit) the conceptual and thematic approach of the inaugural edition will be presented, tested and discussed during a collective walk. This will be the first attempt to declare the public space as a work place and to create a temporary mobile studio. The event ends with the film “A Walk” (2019) by artist Rahima Gambo.

Ronja Andersen and Marius Schwarz, Christoph Chwatal, Rahima Gambo, Aziza Harmel, Fanny Hauser, Leon Hösl, Perspektiven für Kunst in Freiburg e.V. (Heidi Brunnschweiler, Heinrich Dietz, Julia Galandi-Pascual, Ben Hübsch), Magdalena Stöger, Fritz Laszlo Weber.

Rahima Gambo, A Walk Map, 2019

Studio Program
May – July 2021

Exhibition and Public Program
September 2021

The first edition of the Biennale für Freiburg (BfF #1) deals with methods of artistic production inside and outside of the artist studio. The point of departure for this examination is the recent termination of the Freiburg chapter of Karlsruhe’s Academy of Fine Arts. As the painting classes move back to the main faculty in Karlsruhe, the newly-founded Biennale für Freiburg has to deal with the loss of a cultural institution, whilst also establishing itself as a newcomer in the city’s artistic landscape.’ In order to not ignore this development, BfF #1 explores the relationship between temporary exhibitions, academic training and artistic forms of education and knowledge production. Instead of replacing one institution with another, the aim is to transfer processes and actions that usually take place in an academy studio to other contexts and situations. This begins with the assertion that a studio does not necessarily need a physical dimension. Keeping this in mind, other spaces must be found that correspond to the conditions of a studio. This search will explore what characteristics a studio needs to possess.

A studio can be envisioned as a place of production, experiment and exchange: a protective space for thoughts and the actions taking place within it. A space for things in the making. A space of regular review, where actions are presented, tested and reflected upon. A space where honest opinions can be expressed and skills can be developed and applied. A space for construction and destruction, for consideration and spontaneity. A studio is a place where suggestions are made.

By searching for other spaces for artistic production and exchange, the BfF #1 also responds to the very current feeling of isolation within one's own work or living space. For as essential as the studio is as a workplace, as soon as the physical studio is no longer a self-chosen place of retreat, but a forced shelter, freedom becomes a limitation. That is why BfF #1 seeks for ways to dissolve the studio and relate it to the public space. That is why BfF #1 seeks for ways to dissolve the studio and relate it to the public space, which thereby becomes a place of production and an subject for debate.

Next year, the inaugural edition of the Biennale will come about in two phases. Firstly, the Studio Program will take place between May and July 2021. During this period, participating artists will be invited for residencies and research trips where they will have the opportunity to get familiar with the local modes of cultural production and conceive artistic projects in during the Studio Program. These studios can be virtual, physical or imaginary in nature, and will be formed for limited periods of time. They can take on formats such as performances, exhibitions, workshops, lectures or walks. In September 2021, these processes will be translated into an exhibition parcours and a program of events and mediation.

Biennale für Freiburg is conceived and organized by Leon Hösl together with the curatorial advisory board consisting of Christoph Chwatal, Aziza Harmel, Fanny Hauser, Magdalena Stöger and Fritz Laszlo Weber. Participating artists will be announced throughout the next months.

Biennale für Freiburg (BfF) is a new platform for the presentation, development and mediation of contemporary art in Freiburg, Germany. It dedicates itself to artistically approaching urgent socio-political matters through means of varying thematic and conceptual frameworks. The aim is to establish a continuous connection to Freiburg and to provide a lasting contribution to the cultural and artistic life of the city. The Biennale envisions itself as a beneficial addition to Freiburg’s artistic landscape, juxtaposing an in-depth examination of local modus operandi with external perspectives, which are taken up by the participants. The choice for the commonplace acronym BFF and its meaning in popular culture, are quite intentional: a connection based on support and intimacy, conversation and honesty, combined with the genuine desire to never let this commitment end — Best Friends Forever.

The inaugural edition of the Biennale für Freiburg is overseen by Artistic Director Leon Hösl. The committee of the association Perspektiven für Kunst in Freiburg e.V., that executes the Biennale, commissioned Hösl for the conception and realization of its first iteration.Learn more about the first edition, BfF #1, here.


Leon Hösl, Artistic Director
0151 – 64194680


The Biennale für Freiburg is organized by:

Perspektiven für Kunst in Freiburg e.V.
Dreisamstr. 21
79098 Freiburg

Heinrich Dietz, Chairperson
Heidi Brunnschweiler, Vice Chairperson
Julia Galandi-Pascual, Treasurer
Ben Hübsch

Registration court: Amtsgericht Freiburg
Registration number: VR 702810

Responsible for contents according to § 10 paragraph 3 MDStv: Leon Hösl (Director, address see above)

Graphic design: Ronja Andersen and Marius Schwarz
Programming: François Girard-Meunier
Typeface: Difficult Times

The association and Biennale für Freiburg are supported by Stadt Freiburg and the Baden-Württemberg Stiftung.

Stadt Freiburg im Breisgau supports the Biennale for Freiburg

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