Carlfriedrich Claus

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Carlfriedrich Claus (born August 4, 1930 in Annaberg ; † May 22, 1998 in Chemnitz ) was a German avant-garde artist in the fields of font graphics , visual and concrete poetry and sound poetry . He created an extensive oeuvre of articulations, language sheets , prints and graphics. His estate is listed as a cultural property in the state register for Saxony under cultural property protection .

Life

Carlfriedrich Claus was born as the only child of the stationery and art book dealer Johannes Friedrich Emil Claus (1887–1944) and his wife Johanna Luise Claus (1893–1969) in Annaberg / Erzgebirge. In 1933 the family moved from Bambergstrasse 6 to Buchholzer Strasse 10 (entrance Johannisgasse, basement apartment under the Gloria-Palast cinema). On April 8, 1937, Carlfriedrich started school at the Pestalozzi School, and from August 28, 1941 he attended the Anton-Günther-Gymnasium . In January 1944, the father added an art shop to the office supplies store at Buchholzer Strasse 21 (later temporarily Ernst-Thälmann-Strasse 21), and died two months later.

Claus begins to be interested in "foreign" and "special" languages ​​early on. Not least because of the “critical distance to the National Socialist regime” and from “solidarity with Jewish friends”, Claus learns Hebrew and also turns to Russian , Armenian and Chinese . He also acquires numerous language dictionaries and devotes himself to self-study of Kabbalah and the writings of Rudolf Steiner , Ernst Bloch , Novalis , Jacob Boehmes , Spinozas and Paracelsus . Through his parents, Claus got to know and appreciate the works of Kandinsky , Klees , Picasso , Légers and El Lissitzkys , which the Nazis had declared as “ degenerate art ” . During the war years, Claus also dealt with Heinrich Heine , Karl Marx , Daniel Henry Kahnweiler and Carl Einstein . In view of the death of his father, he is increasingly concerned with Rudolf Steiner's anthroposophy . On May 8, 1945, Claus was one of the few Annaberg citizens who welcomed the entry of the Red Army on the market square.

He dropped out of high school in 1945 and began an apprenticeship as a businessman in his mother's shop. From October 1945 to October 1948 he completed an apprenticeship as a retail salesman / art dealer at the municipal business school in Annaberg. At the same time, Claus continued to work on linguistic and phonological phenomena and tried experimental poetry for the first time. After completing his apprenticeship, he was required to work as a construction worker in the construction of the Cranzahl dam , but in 1949 he was released from construction for health reasons. He goes back to his mother's shop.

In 1951 he wrote his first poems. In June 1952, Claus fell ill with tuberculosis . Starting in October, first contacts with galleries, including the student gallery in Berlin (West), are made. From January to mid-April 1953 he spends a spa stay in the Stubbe sanatorium in Sülzhayn . From 1953 to around 1957 Claus worked with portrait and landscape photography, wrote “special” theater reviews for the daily newspaper Volksstimme , in which he specifically addressed “the depth dimensions of voice and articulation”. He also wrote poems, which he now calls phonetic studies , a form of "dissolving language into vowel color and consonant movement" (letter to Hanni Wirth, May 17, 1954). He also worked intensively (throughout his life) on Ernst Bloch's work The Principle of Hope . From 1955 he called his poems sound structures and increasingly included the surface of the paper in the conception of his texts. In 1957, 80 sheets of the automatic diary and paper collages were created. The topics in the following years are language (Claus experimented with sound formation processes), writing (language sheets, transparent sheets) and communist philosophy of history , as well as the relationships between subject and object , consciousness and matter . Claus was in contact with Ernst Bloch , Michel Leiris , Raoul Hausmann , Franz Mon , avant-garde artists in Europe and the Dresden painter Albert Wigand , among others . The friendship with Franz Mon intensified strongly from the 1960s. 1959 the parents' bookstore is nationalized. On the one hand, this restricts Claus materially, on the other hand he can now work more freely. Between 1958 and 1980 he created “phase models”, “letter fields” and “language sheets”, “vibrating texts”, his poet graphics ( Gerhard Wolf ). In 1975 he became a member of the Association of Visual Artists . In 1977 he founded the artist group and producer gallery Clara Mosch (1977–1982) in Adelsberg , a district of Karl-Marx-Stadt, together with Michael Morgner , Thomas Ranft , Dagmar Ranft-Schinke and Gregor-Torsten Schade based on Ranft's idea . In 1978 he won the 2nd prize at the Graphics Biennale in Cracow . In the 1990s, Claus worked on visual poetry in the border area between poetry and graphics. In the last years of his life he occupied himself more with esotericism .

Life in the GDR

There was initially no room for Carlfriedrich Claus' art in the GDR. He could only exhibit in private, if at all, since the secret service suspected "secret agent activity" and cut so many contacts. In 1980 Claus was allowed to present his works for the first time in a state-tolerated exhibition in Dresden. Claus saw himself as a staunch communist throughout his life , but was suspicious of the authorities, especially in his region. He was monitored by the State Security Service of the GDR and advised to leave for West Germany, which he firmly refused. In addition, he was a determined pacifist all his life , which the SED state was also suspicious of. And that, although he also wrote texts such as on the graphics of the Aurora cycle (1967): “The star of the earth stands before our gaze as a new, communist one. In Dawn… ”, or on Bioelectric Landscape (1973):“ Submarines in consciousness. Written in thoughts of my friends and comrades from the Unidad Popular who are still alive . “However, Carlfriedrich Claus was never a supporter of GDR communism. He remained free in his thoughts and actions and always defied ideologies. First that of National Socialism, then that of the GDR. "Although he processed the ideas of Marx , Lenin and Bloch as seriously and consistently as few in his thought landscapes, his work in the GDR was suppressed and ignored by the Marxist-Leninist state party and only accepted by opposition forces." Claus maintained contacts with other specific poets (especially Franz Mon ) and especially with the avant-garde from the Czech Republic. Contacts within the Soviet Union were easier than with the West. Claus could mostly only be visited and not go on trips himself. (However, Franz Mon organized exhibitions for him in the West.) Documents are intercepted several times. Carlfriedrich Claus lived according to the philosophy of Bloch , whose work The Principle of Hope fascinated him throughout his life. He strived for a concrete utopia , but one that went beyond social structures. He said of himself: “I was isolated, but connected to the social process. [...] It was a dialogue with oneself and with social processes, political processes and natural processes. So no escape inwards, no introversion. The fact that I consumed myself with negative affects is mainly due to the intensive discussion with Bloch, insofar as he sees the fact as a process. The real Marxist behavior is to look ahead to the solvability of the non-agnostic contradictions ”. Claus himself never wanted to look at his Stasi files.

Complete works

Carlfriedrich Claus created a complete work of several hundred tape cassettes with articulations, language sheets, hand drawings, books, prints, letters, etc. His work had the claim to challenge the recipient holistically. His work can always be recorded as a self-experiment. At the beginning Claus wrote concrete poems on the typewriter. This lyric was about nature and time, among other things. Later the motifs "sound" and "vibration" become important and he wrote by hand. Claus literature is experimental and cannot be easily categorized. When preparing his “language sheets” or “ vibration texts ”, he articulated (partly) simultaneously, so that it represents a work on several levels. The recipient can get an idea of ​​the holistic nature of the work. B. obtained when visiting the language area AURORA. "I often ask myself after the emergence of a language sheet: how large is the proportion of what has not yet become in the body that manifests itself through the movement of the hand without simultaneous implementation, so to speak overtaking consciousness, how large is that not yet in the body Conscious in consciousness, especially in language-consciousness, how big that of the no longer conscious, and deaf rubble. "Claus work is transmedial. When receiving the “language sheets” and “sound processes”, the recipient should expand his perception. "Fantasy-led reactions and intellectual reflections should interpenetrate". In his work, Claus tries to reveal the latency of language and to make its tendency visible. He recombines its elements and “terminates them [the basic assumption of modern linguistics] [...]. He experiments with the notion that something like “structural information” emanates from the carriers of language, from writing and spoken sounds, that is from the “substance” of their sounds and cuvatures ”. Even if some of Claus' works look very graphic, Claus always saw himself as a man of letters. He said: “Basically I don't see myself as a visual artist, but as a writer”. Although some of Claus's works were barely legible for the recipient without a magnifying glass, Carlfriedrich Claus refused to have his works enlarged until the 1990s. He wanted the recipient to come into close contact with the work and to carry out a process himself by touching and turning (the language sheets).

Exhibitions

  • 1963 Claus is represented with ten language sheets at the exhibition "Schrift und Bild" in the Amsterdam Stedelijk Museum , but is not present in person because he did not receive an exit permit. Franz Mon organizes other exhibitions. Including the exhibition
  • 1964 in the State Art Gallery Baden-Baden .
  • 1978 language sheets. Central Institute for Nuclear Research Rossendorf near Dresden
  • 1980 first (state tolerated) solo exhibition in the Kupferstichkabinett Dresden
  • 1981 first official foreign exhibition of the GDR in Paris
  • 1990 City Museums Karl-Marx-Stadt, Westphalian State Museum for Art and Cultural History Münster
  • 1993 Lindenau Museum Altenburg, Goethe Institute London
  • 1995 Rostock art gallery
  • 2005 font. Character. Gesture. Carlfriedrich Claus in the context of Klee to Pollock. Chemnitz art collections
  • 2013 Exhibition on the friendship between Carlfriedrich Claus and Franz Mon in the Chemnitz art collections

Works and writings (chronological)

  • Historical-philosophical combine. 1959-1964.
  • Notes between the experimental work - to her. Edited by the State Art Gallery Baden-Baden. Typos Verlag, Frankfurt am Main 1964.
  • movens. Documents and analyzes on poetry, fine arts, music, architecture. Edited by Franz Mon. Limes, Wiesbaden 1960.
  • Font and image. Edited by Dieter Mahlow, Baden-Baden 1963.
  • Graphic folder Aurora. 1977.
  • Note on "Conscious activity in sleep" In: Lautpoesie. An anthology. Edited by Christian Scholz, Obermichelsbach 1987, text book for the LP, p. 5.
  • Language sheets. Klaus Ramm, Spenge 1987, ISBN 3-921917-17-4 .
  • Awakening in the moment. Language sheets with the theoretical texts by Carlfriedrich Claus and an annotated catalog raisonné. Edited by Klaus Werner, Karl-Marx-Stadt, Münster 1990, ISBN 3-88789-094-9 .
  • Work-Box 1955–1990 Wooden case with 3 lithographs, screen prints, facsimile color copies, poems, typescripts, tape cassettes, etc. Ed. By Klaus Werner on behalf of a joint edition between Carlfriedrich Claus, gallery above (Karl-Marx-Stadt), Trottelpresse Gohlis (Leipzig ), Edition Staeck (Heidelberg) 1990.
  • Dialoge II. Lithographs and texts by Carlfriedrich Claus a. Klaus Sobolewski . 1990.
  • the word on the tongue. Franz mon. texts from forty years of age selected and subjectively interrelated to each other and to language sheets by Carlfriedrich Claus. Berlin 1991.
  • Thoughtscapes. Berlin 1993.
  • Reflections in the experimental area K. Berlin, 1993.
  • Between the once and the once Language sheets. Texts. Aggregate K. Test area K. Janus Press, Berlin 1995, ISBN 3-928942-15-8 .
  • Aurora. Language sheets. Aurora experimental room. Letters. Janus press, Berlin 1995, ISBN 3-928942-17-2 .
  • Visual poetry. Anthology. Edited by Eugen Gomringer . Stuttgart 1996, pp. 35-45.
  • This side of natural languages. Sound processes. In: “Passau Pegasus. Zeitschrift für Literatur ”, issue 29/30 (1997) (special issue“ Neue Poesie und - als Tradition ”, edited by Friedrich W. Block), pp. 126–127.
  • Aggregate. in visual poetry. Edited by Heinz Ludwig Arnold . Munich 1997 (= TEXT + KRITIK, special volume), pp. 67–68.
  • Carlfriedrich Claus / Albert Wigand: Dream - Floor Plan. Memory of a friendship. Edited by Roland März, Neustrelitz 1998.
  • Eyes glances word remember. Encounters with Carlfriedrich Claus. Janus press, Berlin 1999, ISBN 3-928942-63-8 .
  • The graphic work. Edited by Klaus Werner / Gabriel Juppe. Lindenau-Museum Altenburg, Altenburg 2000, ISBN 3-86104-038-7 .
  • Carlfriedrich Claus 1930–1998. Annaberg-Buchholz 2000.
  • Carlfriedrich Claus: memorial . Chemnitz art collections 2000.
  • Ingrid Mössinger, Brigitta Milde (Ed.): Script. Character. Gesture. Carlfriedrich Claus in the context of Klee to Pollock . Wienand, Cologne 2005, ISBN 3-87909-867-0 .
  • The sound structures of Carlfriedrich Claus. selected by Christian Baumert, in Akzente. Zeitschrift für Literatur 55 (2008), no. 3, pp. 256-285.

Audio documents

  • Basal speaking operating rooms . Bayerischer Rundfunk 1995. With a radio essay by Klaus Ramm . intermedium records, 041, Erding 2009 (CD), ISBN 978-3-943157-41-3 .
  • Basal speaking operating rooms (remix) . Direction: Ernst Horn and Bernhard Jugel. Bavarian Broadcasting 1995.
  • Poems and sound texts. In: Claus: Work-Box 1955–1990 et al. Edited by Klaus Werner on behalf of a joint edition between Carlfriedrich Claus, galerie above (Karl-Marx-Stadt), Trottelpresse Gohlis (Leipzig), Edition Staeck (Heidelberg) 1990. (audio cassette page A: Early poems / sound poems. Spoken by the artist in 1959 and 1990; Page B: Sound processes).
  • Sound aggregate . West German Broadcasting 1993.
  • Lautagreggat in: Carlfriedrich Claus: Sound Process Room. Edited by Susanne Anna, Chemnitz 1995 (CD).
  • Speech retreats 1959 tape, Chemnitz art collections, Carffriedrich Claus Archive Foundation.
  • Sound poetry. An anthology. Edited by Christian Scholz, Gertraud Scholz Verlag, Obermichelbach 1987 (LP), ISBN 3-925599-09-6 .
  • BOBEOBI. Lautpoesie An anthology. Edited by Christian Scholz. Gertraud Scholz Verlag, Obermichelbach 1994 (CD), ISBN 3-925599-26-6 .
  • New music magazine. H. 5 (1998), CD supplement compiled by Michael Lentz.
  • ausSICHT - abSICHT - einSICHT 25 years Bielefelder Colloquium Neue Poesie. Edited by Ulrich Schmidt and Michael Vogt, Bielefeld 2002 (CD 1).
  • ALL LALULA 2. Songs and Poemes. From the beat generation to today. Edited by Wolfgang Hörner and Herbert Kapfer , Berlin 2003 (CD2), ISBN 3-8218-5242-9 .
  • Voices and sounds of sound poetry. Edited by Christian Scholz and Urs Engeler. Urs Engeler, Editor, Basel 2002, ISBN 3-9521258-8-1 .

Honors

In 1989 Claus received the Max Pechstein Prize from the city of Zwickau. On April 15, 1994 he was made an honorary citizen of Annaberg-Buchholz. In 1992 he was awarded the honorary professorship of the Free State of Saxony. Furthermore, Carlfriedrich Claus received the Jerg Ratgeb Prize founded by HAP Grieshaber and Rolf Szymanski in 1993 . In 1998 he received the Gerhard Altenbourg Prize . In 1999 the "AURORA Experimental Room" (first shown in 1993 in the Barthel + Tetzner Gallery in Cologne, later at the Rostock Art Gallery) was installed as a permanent exhibition in the German Reichstag in Berlin.

On the 75th birthday of Carlfriedrich Claus, his apartment in Annaberg-Buchholz, in which he lived and worked for decades, was renovated by the sponsors and lenders and given to the public as a meeting place by the Friends of Carlfriedrich Claus - Living and Working in Annaberg-Buchholz eV . The apartment / study room Buchholzer Str. 10, entrance Johannisgasse in Annaberg-Buchholz can be visited by interested parties. In August 2008 , a cooperation was agreed between the Annaberg Förderverein Carlfriedrich Claus and the Carlfriedrich Claus Archive Foundation in Chemnitz, which houses the artist's estate, in order to jointly preserve the work of Claus.

Quotes

  • “Basically I don't see myself as a visual artist, but as a writer”.
  • "The start of production of a sheet is either a deliberately grasped topic that is understood and formulated as precisely as possible with linguistic thinking - or the respective chaos (or the automatisms) of the internal dialogue that is uncontrolled by the will."
  • “The linguistic sheets want [...] to be perceived as optical systems, captured by the eye, but also unfolded over time, to be read as linguistic information. By attempting to dissolve the two dialectically linked information levels of the sheet, the linguistic and the optical, by comparing and reassembling, a specific tension can arise in the viewer / reader. "
  • "Annaberg-Buchholz, undercut in many layers, reaches into rather turbulent air for days. Even in the windless time there is a light train at night from Pöhlberg - it runs divided, at different speeds through streets, through alleys, gets caught in courtyards, turns, blows In trees, on roofs. Snow flurries make sliding and abruptly changing vertical and horizontal flow patterns in the air indirectly visible; in the emptiness of the nocturnal market square, different from, for example, at the two ash trees behind the mountain church. In spring, in autumn, when storms are blowing across the board , the city functions as an open object that partly breaks the lowest layers of the air masses, partly diverts them through streets. Counter-waves, turbulence, surf. Up in the storm at dawn, swarms of jackdaws and crows -: coming from their sleeping trees they circle over identifiers like St. Anne in the sea of ​​air, with its gusts, updrafts, the eddies. [...] What does that mean: place of birth, place of life, place de s dying? Are there interactions between increasing mobility and openness? The immense distance, the strangeness between human and human becomes visible. But smiles too. Friendliness. Laugh. It keeps coming back, cannot be suppressed, the will to make the dream come true: freedom equality fraternity. "
  • "Thinking about dying can awaken a premonition of ultimate fear, but also of its passing away. A different feeling of existence arises: between non-existence and non-existence. The attempt to live from the certainty of death gives stability. More intense awareness. Distance himself. The realities with which I interact biologically, psychologically, linguistically and socially appear from a strange light. From there I redefine my relationship to them, to myself. "

Protection of cultural property

Protected cultural asset

The estate of Carlfriedrich Claus' (consisting of: “582 drawings, 271 prints, 87 sound carriers, 19,000 letters, 13,000 photos and negatives, 350 manuscripts, 520 newspaper articles, 50 diaries, workbooks and notebooks as well as 30 reel tapes”) was listed in the state directory for Saxony Registered cultural property is placed under cultural property protection within the meaning of the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict .

literature

  • Catalog Carlfriedrich Claus. Gallery arcade. Berlin 1975.
  • Catalog Carlfriedrich Claus Sprachblätter. Kupferstichkabinett Dresden 1980.
  • in artists from the Annaberg district. Annaberg District Council, Culture Department 1980.
  • Catalog Carlfriedrich Claus awakening in the moment. City Museums Karl-Marx-Stadt 1990.
  • Tilo Richter (Ed.): Carlfriedrich Claus AUSZUG. Photographs by Levin Colmar , texts by Friederike Mayröcker , Alain Arias-Misson and Gabriele Juppe , Passage-Verlag, Leipzig 2000, ISBN 3-932900-44-8 .
  • Ingrid Mössinger , Brigitta Milde (eds.): Writing, signs, gestures - Carlfriedrich Claus in the context of Klee to Pollock. Kunstsammlungen Chemnitz, Wienand Verlag 2005, ISBN 3-87909-867-0 .
  • Annette Gilbert: Movement at a standstill. Explorations of the scriptural with Carlfriedrich Claus, Elizaveta Mnatsakanjan , Valeri Scherstjanoi and Cy Twombly , Aisthesis-Verlag, Bielefeld 2006.
  • Michael Grote: Exercises. Experiments. On the acoustic literature by Carlfriedrich Claus. Bielefeld 2009, ISBN 978-3-89528-710-7 .
  • Annette Gilbert / Heinz Ludwig Arnold (eds.): Carlfriedrich Claus. Text + criticism, Volume 184, Munich 2009, ISBN 978-3-86916-019-1 .
  • Christian Baumert: Carlfriedrich Claus. Considerations on WORK-BOX, Leipziger Universitätsverlag 2009, ISBN 978-3-86583-450-8 .
  • Gotthard B. Schicker , Sprachblätter - portrait of the artist, scientist and communist Carlfriedrich Claus based on personal memories in Dicknischl - Erzgebirge people then and now. Druck- und Verlagsgesellschaft Marienberg mbH, 2008, ISBN 978-3-931770-76-1 , pp. 151–157.
  • March Roland, "Dream floor plan: Memory of a friendship / Leonhardi Museum Dresden. Carlfriedrich Claus; Albert Wigand", Verlag für Moderne Kunst, Nuremberg 2008, ISBN 978-3-940748-87-4 .
  • Matthias Flügge and Brigitta Milde on behalf of the Akademie der Künste, Berlin: Carlfriedrich Claus written in the night sea. Berlin 2011, ISBN 978-3-88331-173-9 .
  • Ingrid Mössinger, Brigitta Milde (Eds.): … An almost silent symbiosis of vibrations. The friendship between Franz Mon and Carlfriedrich Claus. Correspondence 1959–1997. Visual texts. Sprachblätter Kerber, Bielefeld 2013, ISBN 978-3-86678-830-5 .
  • Short biography for:  Claus, Carlfriedrich . In: Who was who in the GDR? 5th edition. Volume 1. Ch. Links, Berlin 2010, ISBN 978-3-86153-561-4 .

Individual evidence

  1. ↑ a b c d e f Günter Peters: Approaches to Carlfriedrich Claus. Pp. 5-14. In: Heinz Ludwig Arnold, Carlfriedrich Claus, Annette Gilbert: Carlfriedrich Claus (= text + criticism. 184). Ed. Text + review, Munich 2009, p. 5.
  2. ^ Brigitta Milde: Carlfriedrich Claus. Memorial. Janus Press, Berlin / Chemnitz 2000, art collections, p. 5 f.
  3. ^ A b Brigitta Milde: Carlfriedrich Claus. Memorial. Janus Press, Berlin / Chemnitz 2000, art collections, p. 6.
  4. ^ A b c Günter Peters: Approaches to Carlfriedrich Claus. Pp. 5-14. In: Heinz Ludwig Arnold, Carlfriedrich Claus, Annette Gilbert: Carlfriedrich Claus (= text + criticism. 184). Ed. Text + criticism, Munich 2009, p. 6.
  5. ↑ Werner Schmidt: In memory of Carlfriedrich Claus. Address in Chemnitz on June 18, 1998, pp. 11-15. In: Brigitta Milde: Carlfriedrich Claus. Memorial. Janus Press, Berlin / Chemnitz 2000, art collections, p. 13.
  6. ↑ Flügge, Matthias: In memory of Carlfriedrich Claus. Address in Chemnitz on June 18, 1998, pp. 23-25. In: Brigitta Milde: Carlfriedrich Claus. Memorial. Janus Press, Berlin / Chemnitz 2000, art collections, p. 23.
  7. ↑ See also: On the Chemnitz Art Collections and the Carlfriedrich Claus Archive Foundation
  8. ↑ Franz Mon, Carlfriedrich Claus: the word on the tongue, texts from forty years. Selected and subjectively interrelated to one another and to language sheets by Carlfriedrich Claus. Janus Press-Verlag, 1991, p. 26.
  9. ↑ a b Michael Grote: "Awareness Activity During Sleep." Comments on the experimental literature by Carlfriedrich Claus. Pp. 46-53. In: Heinz Ludwig Arnold, Carlfriedrich Claus, Annette Gilbert: Carlfriedrich Claus (= text + criticism. 184). Ed. Text + criticism, Munich 2009, p. 46.
  10. ↑ Janet Boatin: That's why it's getting serious. Carlfriedrich Claus's early work. Pp. 27-41. In: Heinz Ludwig Arnold, Carlfriedrich Claus, Annette Gilbert: Carlfriedrich Claus (= text + criticism. 184). Ed. Text + review, Munich 2009, p. 28.
  11. ^ Carlfriedrich Claus: Letter to Ernst Bloch from July 8, 1974. Quoted from: Carlfriedrich Claus: Erwachen im moment. ; Comment on G33.
  12. ^ Günter Peters: Approaches to Carlfriedrich Claus. Pp. 5-14. In: Heinz Ludwig Arnold, Carlfriedrich Claus, Annette Gilbert: Carlfriedrich Claus (= text + criticism. 184). Ed. Text + criticism, Munich 2009, p. 12.
  13. ^ Günter Peters: Approaches to Carlfriedrich Claus. Pp. 5-14. In: Heinz Ludwig Arnold, Carlfriedrich Claus, Annette Gilbert: Carlfriedrich Claus (= text + criticism. 184). Ed. Text + criticism, Munich 2009, p. 10.
  14. ^ Günter Peters: Approaches to Carlfriedrich Claus. Pp. 5-14. In: Heinz Ludwig Arnold, Carlfriedrich Claus, Annette Gilbert: Carlfriedrich Claus (= text + criticism. 184). Ed. Text + criticism, Munich 2009, p. 11.
  15. ↑ a b In conversation with Carlfriedrich Claus with Klaus Schöning on “Lautaggregat”. In: Carlfriedrich Claus: Sound Process Room. (Ed.): Susanne Anna, Chemnitz 1995, CD text booklet, p. 25.
  16. ^ Preserving Claus' legacy together - Mayors of Chemnitz and Annaberg sign cooperation agreement. Free press , local edition Annaberg, August 4, 2008.
  17. ↑ C. Claus. from interim-remarks (1967). Quoted from: Gomringer, Eugen: visual poetry. anthology. Reclam. Stuttgart, 1996, p. 35 f.
  18. ↑ C. Claus. from interim-remarks (1967). Quoted from: Gomringer, Eugen: visual poetry. anthology. Reclam. Stuttgart, 1996, p. 36.
  19. ^ Carlfriedrich Claus: Place of the wind. Foreword in Ein Mensch ist bunt (Photographs by Eckard Lemcke), 1996.
  20. ↑ Carlfriedrich Claus: Living from death. 1989.
  21. ↑ Registered cultural property in Saxony ( Memento from February 21, 2013 in the Internet Archive ).
  22. ↑ Description of the book

Web links

personal data
SURNAME Claus, Carlfriedrich
BRIEF DESCRIPTION German graphic artist and writer
DATE OF BIRTH 4th August 1930
PLACE OF BIRTH Annaberg-Buchholz
DATE OF DEATH May 22, 1998
Place of death Chemnitz