Wolfgang Becker and Claudio Cerritelli, catalogue texts for the exhibition of 5 sculptures in the Central pedestrian zone and of paintings and drawings in the Galleria Nuova 2000, 2 illustrations, Bologna, Italy


Flaminio Gualdoni, text for the exhibition of sculptures, paintings and collages in the gallery Duchamp, 7 illustrations, Cagliari, ItalienGiorgio

Pellegrini, “Quando il Nordico ha fame d ‘ Azzurro”, in ‘ La Nuova Sardegna ‘, 6.11.1987

Annemaria Janin, “Kroke, una sfida alla materia”, in ‘ Specialty arte, l ‘ Unione Sarda ‘, 8.10.1987


Pier Giovanni Castagnoli, catalogue text for the sculptures of Kroke at the Biennale internationale di Scultura: “Periplo della Sculturaa contemporanea”, Matera, Italy


Pier Giovanni Castagnoli, Gottfried Knapp and Dieter Ronte, catalogue texts for the exhibition of sculpture and painting by pit Kroke in Villa delle Rose, Bologna, Italy

Daniela Bellotti, “I nuovi totem di pit Kroke” in ‘ Il resto del Carlino ‘, 30.9.1989

Dede Auregli, “pit Kroke, la scultura nelle viscere”, in ‘ l ‘ UNITA ‘, 19.9.1989, Bologna

Pier Giovanni Castagnoli, “Totem di un culto primitiveo”, in ‘ La Repubblica ‘, 19.9.1989

Gian Luigi Rondi,, “L ‘ Equilibrio dei segni neri di Kroke”, in ‘ Il tempo ‘ from 1.3.89 to the exhibition Galleria Il Millennio, Roma, Italy

Carlo Apuleo, “I grafemi di pit Kroke”, in ‘ Proposte ‘, March 1989, Rome, Italy

Rosella Caruso, in ‘ Flash Art ‘ to the exhibition in the Gallery Il Millennio, Rome

Pier Giovanni Castagnoli, “the sculptures of pit Kroke”, in ‘ Nike ‘, New art in Europe N ° 29, Muenchen


Christoph Brockhaus, “from the scriptural mark to the pictorial collage – to Krokes drawings from the winter 1989-90 ″, Pier Giovanni Castagnoli,” The Virtu of a new sculptor “, Gottfried Knapp,” the uprising of forms. To the pictorial work Pit Krokes “, Dieter Ronte,” from the idea to space “, texts in the catalogue of the touring exhibition of the Galleria d’arte Moderna Giorgio Morandi, Bologna to Munich, Duisburg and New York

Peter M. Bode, “ciphers in Megalo-handwriting, in ‘ Evening newspaper Az ‘ vom 8.5.90, Muenchen

Wolfgang Laengsfeld, “art as part of a city”, in ‘ SueddeutscheZeitung ‘ from 18.5.90

Dietmar Steiner, “Muenchen furnished?”, in the ‘ falter ‘ of 8. – 14.6.90, Vienna

Chritoph Brockhaus, the Einfuehrungsrede from 17.7.90 to the exhibition of sculptures and drawings published in ‘ Duisburg Journal ‘ 9-90

Irmgard Bernrieder, “The sculptures take place”, in Rhenish post from the 17.7.90

Dieter Ronte, “from the idea to space”, Wilhelm-Lehmbruck-Museum Duisburg 1990, European sculpture of the second modern


Pit Kroke, “Lo Sguardo”, in the exhibition catalogue of the Galleria Il Millennio, Rome

Vito Apuleo, “pit Kroke Solarita Mediterranea”, in ‘ Il Messagero ‘ vom 16.5.91, Rome

Barbara Vinciguerra, “Pit Kroke”, in ‘ Next ‘ from May 1991, Rome

Ludwig Zerull, “Durchsetzungsfaehige heavy” to the sculpture exhibition in the Hanover urban area, in ‘ Hanoverian Allgemeine Zeitung ‘ of 14.9.91


Paolo Fossati e Claudio Cerritelli, “Dialogo sulla scultura”, textbook Leonardo-De Luca, Rome

Claudio Cerritelli, “La Scultura domina L ‘ Ambiente”, in the art magazine ‘ Titolo ‘ N ° 8, 4 illustrations


Jochen Boberg, “Art is Pleasure”, text in the exhibition catalogue of GalerieTammen and Busch, Berlin


Elmar Zorn, “Pit Kroke: City signs, sculptures for a metropolis”, Peter Herbstreuth, “shadowy claws for orientation in the city”, in the ‘ Tagesspiegel ‘ of 28.1.94, Berlin

Rolf Schneider, “Stonehenge in Berlin, about an impressive municipal project of the Berlin artist pit Kroke”, in the week of 20.1.94

Christina Wende Burg, “High PvP”, in the ‘ Tip ‘ 2/94, Berlin

Dieter Ronte, “monumental signals”, in ‘ Neue Fine Art ‘ 2/94, Berlin

Klaus Hammer, “an attack on urban idling”, in ‘ new Time ‘ from the 16.2.94

Beate Wilms, “seizes the room”, in ‘ Neue Deutschland ‘ from 26.1.94

Christina Wends Burg, “the animated Stadtwueste”, to the exhibition in the new Saechsischen Kunstverein, in ‘ Fama ‘, 2/94, Dresden

Vittorio Fagone, “pit Kroke, Scenari virtuali contro l ‘” “, in ‘ Avvenire ‘ 19.3.94

Ingrid Koch, “Discourse on Urban Art”, in ‘ Lusatian/Elbe-Elster Rundschau ‘ 20.6.94

Lilli Vostry, “Steel sculpture for the Neumarkt”, in ‘ Saxon Zeitung ‘ 20.6.94

Ingrid Koch, “Streets and squares equal to a Piazza”, in ‘ Free Press ‘ 8.7.94, Chemnitz


Gianni d ‘ Elia, “VEDOV: Una scultura della crudelta”, catalogue text for the exhibition: Pit Kroke sculture, Im Exma, Cagliari, Italy


Knut Vahlensieck, “television shot and frenzied history, new works by Pit Kroke in the Harenberg House”, in ‘ Ruhr Nachrichten ‘ 20.3.97

Rolf Pfeiffer, “Turnaround time: Pit Krokes threatening steel structures”, to the exhibition at the Harenberg Center Dortmund in ‘ Westfaelische Rundschau ‘ 20.3.97


Laszlo Kerekes, “The city sign three lindens” by pit Kroke


Christoph Brockhaus, “Gran GOLAR” to the exhibition of the Teutloff Collection at Brock University, Canada


Brockhaus, C., “Light and shadow or space-art as Life form”, in ‘ artist, critical lexicon of Contemporary Art ‘, edition 62, Muenchen

“Seeing and thinking” video documentation, Academy of Arts, Berlin


Christoph Brockhaus, text on the Buchpraesentation “Ludus Architectonicus”, for the exhibition at Galerie Aedes, Berlin


Museum in the culture store Wuerzburg
“Photograph and data image. Traces of Concrete Photography “ISBN 978-3-86828-555-0

Publisher: Gottfried Jaeger, Henrike Holsing

Authors: Bernd Stiegler, Gottfried Jaeger, Henrike Holsing

The museum in the cultural store Wuerzburg, with the collection Peter C. Ruppert one of the centres for concrete art in Germany, has already 2005 the concept of» Concrete Photography «In the spotlight of research. Ten years later, the exhibition photo and data image – traces of concrete photography an update and asks, on the basis of works, especially the last ten years, again, for a definition of concrete photography against the backdrop of digital change. The catalogue of the exhibition shows with a section of the collection Peter C. Ruppert Some classics of concrete photography; From here he follows the traces of a ungegenstaendlichen, self-reflexive photography in contemporary art. Some photographic artists react to the digitisation of their medium with a Rueckwendung to the apparatus and to the experiment with photo paper and light-sensitive material, others use the new technical possibilities for a completely independent image generation by means of the computer. There are no limits to the experiment in both areas – the desire for images to be made without image as a characteristic of the» concrete «Remains and Aeussert in an excitingly multi-faceted way.