Although Daniel Knorr claims that there is no such thing as political art, his works are extremely sensitive to the state of the world. 2017, at documenta 14, Knorr let white smoke rise from the Zwehrenturm, a vestige of Kassel’s city fortifications, which inevitably made one think of current wars as well as the book burnings taking place in front of the Fridericianum in 1933. As in all of his work, humor and seriousness resonate here at the same time. Knorr's works usually hover in a deceptive “space in between” in which the supposedly stable connotations of things, places, historical facts and identifications can take on completely new meanings. In 2005 Knorr represented his country at the Venice Biennale and exhibited an empty pavilion. His works appear in many forms: in galleries and public spaces, as text, newspapers, advertising, yes, even as a conversation and now as a flag.
For the poles at Freilich am See he made two flags called Mobility Flag 1 and Mobility Flag 2. Both are manufactured from packing blankets. As costumary, these are made from recycled textiles. Most likely there were one or two flags in the mix, definitely most of the re-used fabrics were colored. The mobility flags with their uniform and "basic" shape and a color that surrounds us everywhere, but which we usually ignore, is the amalgam of all chromatic possibilities. Even more - the mixture of colors even permeates them physically. Both flags differ only slightly in their gray or brown tint. By no means does this symbolize a sad state of mind. Rather, they symbolize a "move" and represent a fresh start. In addition, due to its similarity to felt, the material opens up a parallel level of meaning to art and relates directly to the work of Joseph Beuys, who understood felt as an insulator through which thermal energy can be stored. This in turn acts as a catalyst for creativity, the prerequisite for social and intellectual development processes of humans. Incidentally, the industrial material from the moving industry used by Knorr for his flags was referred to by Beuys as GDR-felt.