The tree house as a symbol for alternative subjectivism, but a so as model for a harmonious relationship with nature. With the construction, the question consistently comes up: how can you secure a tree house if you do not want to harm the tree by pounding nails into it? Home Tree Home investigates this problem through computer animation created in collaboration with D+. Three variants of a possible tree-house destruction-storm, saw, fist-serve as an experimental leitmotif, treated in the style of socio-critical coal drawings, evolving from the computer-generated dissolution of highly complex 3-D-drawings.

Peter Friedl was born in Oberneukirchen, Austria, in 1960, and currently lives and works in Berlin. Since the early nineties, he has been building up a heterogeneous body of work (photography, painting, video, drawing, text) with a strong component of social and political critique. Friedl draws attention to the conflicts between contemporary politics and aesthetic narrative. He often turns to genres (tableaux vivant, documents) and subject matter (childhood, social exclusion) that are undervalued in the modern artistic tradition, and uses displacement and overexposure to challenge accepted systems of representation. Friedl pushes the boundaries of genres and codes for purposes that are clearly critical. He is best known for the photographic works he produced in South Africa, Haiti, Brazil and other places that were the scenes of Europe’s colonial past, and for his work based on American philosopher John Rawls’ theory of justice. He has published numerous essays and critical texts on theatre and aesthetics.