{"id":650,"date":"2021-09-11T18:55:12","date_gmt":"2021-09-11T16:55:12","guid":{"rendered":"https:\/\/tracingspaces.net\/heavenandhell\/?page_id=650"},"modified":"2021-09-17T17:15:10","modified_gmt":"2021-09-17T15:15:10","slug":"mmkk","status":"publish","type":"page","link":"https:\/\/tracingspaces.net\/heavenandhell\/mmkk\/","title":{"rendered":"MMKK"},"content":{"rendered":"[vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
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<\/span> SERPENTINE
\n<\/span>A TOUCH OF HEAVEN <\/span><\/h3>\n

(AND HELL)<\/span><\/h3>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
<\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n

Ausstellung in der Au\u00dfenstelle MMKK Klagenfurt | <\/span>parallel exhibition at our ‚outpost‘ at MMKK Klagenfurt<\/p>\n

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  1. Juni bis 29. August 2021 | 11 June to 29 August 2021<\/li>\n<\/ol>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
    <\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]Parallel zu dem zweij\u00e4hrig angelegten k\u00fcnstlerischen Projekt im \u00f6ffentlichen touristischen Raum entlang der Gro\u00dfglockner Hochalpenstra\u00dfe zeigt das MMKK rund um das ber\u00fchmte Glocknergem\u00e4lde von Markus Pernhart aus dem Jahr 1860 filigranere Bilder, Skulpturen und Installationen, die der extremen Witterung am Berg nicht standhalten w\u00fcrden \u2013 oder die erst parallel zur Arbeit am Berg durch die Inspiration vor Ort und im Museum entstanden sind.[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]Parallel to the two-year public art project along the Grossglockner High Alpine Road, the MMKK is showing additional pictures and installations around the famous 1860 Glockner painting by Markus Pernhart: more filigree pictures, sculptures, and installations which would not withstand the extreme weather conditions on the mountain \u2013 or which were created parallel to the work on the mountain through the inspiration on site and in the museum.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
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    \"\"<\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
    Markus Pernhart (1824\u20131871) Gro\u00dfglockner, um 1860, \u00d6l auf Leinwand, 58 x 74 cm, Museum Moderner Kunst K\u00e4rnten<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
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    Das Museum moderner Kunst schien deshalb als „Aussenstelle“ pr\u00e4destiniert, weil es in der Regel im letzten Raum seiner Sammlungsausstellung (in der unsere Ausstellung gastierte) das Gem\u00e4lde des K\u00e4rntner Malers Markus Pernhart zeigt, der von K\u00e4rnten aus zu einem der bekanntesten Landschaftsmaler seiner Zeit avancierte. In seinem idyllischen und pathetischen Stil repr\u00e4sentiert dieses Bild gewisserma\u00dfen den „Canaletto Blick“ der \u00f6sterreichischen Alpen und markiert den beginnenden Bergtourismus, zu dessen Sehnsuchtsproduktion die Landschaftsmalerei, insbesondere Pernhart, auch ma\u00dfgeblich beigetragen hat. Dieses Bild verblieb (als einziges aus der Sammlung) an seinem Original-Standort, wurde jedoch durch eine zweite fast identische Version erg\u00e4nzt, die aus dem (im Umbau befindlichen) Landesmuseum K\u00e4rnten ausgeliehen wurde.<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]The Museum of Modern Art seemed predestined as an „outpost“ because it usually shows in the last room of its collection exhibition the famous painting by the Carinthian painter Markus Pernhart, who advanced from Carinthia to become one of the most famous landscape painters of the Monarchy. In its idyllic and pathetic style, this painting represents to a certain extent the „Canaletto view“ of the Austrian Alps and marks the beginning of mountain tourism, to whose production of longing landscape painting, especially Pernhart’s, also contributed significantly. This painting remained in its original location, but was supplemented by a second, almost identical version that was borrowed from the collection of the Landesmuseum K\u00e4rnten (which is currently being renovated).[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
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    \"\"<\/div><\/div>[vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
    Robert Haas, Gro\u00dfglockner Hochalpenstra\u00dfe, 1937\/1983, Reproduktion, Fotomontage, 6,9 x 22,2 cm, 1937\/1980, Wien Museum, Inv. Nr. 302694\/1<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]Als Verweis auf die politische Bedeutung der Gro\u00dfglockner Hochalpenstra\u00dfe f\u00fcr das Nation Building der ersten Republik und des austro-faschistischen St\u00e4ndestaates diente diese kleine Foto-Collage von Wolfgang Haas aus dem Jahr 1937, in der er die attraktivsten Ausblicke auf die und von der Strasse auf nur einem einzigen Bild vereinte. Diese Collage diente als Vorlage f\u00fcr ein 30,5 x 8,5 Meter gro\u00dfes raumf\u00fcllendes Wanddisplay, das als prominenter Blickfang im \u00f6sterreichischen Pavillon der Weltausstellung Paris 1937 gezeigt wurde. Sie h\u00e4tte 1939 auch auf der Weltausstellung in New York gezeigt werden sollen, eine Pr\u00e4senz war nach dem Anschlu\u00df \u00d6sterreichs ans Nazi-Deutschland von den neuen Machthabern jedoch nicht mehr erw\u00fcnscht. Der Wiener Fotograf Wolfgang Haas hatte sowohl die ersten Jahre der Salzburger Festspiele als auch die der Gro\u00dfglockner Hochalpenstrasse mit seiner Kamera dokumentiert, bevor er aufgrund seiner j\u00fcdischen Abstammung in die USA emmigrieren musste.[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]As a reference to the political significance of the Grossglockner High Alpine Road for the nation building of the First Republic and the Austro-fascist corporative state, this small photo collage by Wolfgang Haas from 1937 served to unite the most attractive views of and from the road in just one picture. At the time, this collage served as the model for a 30.5 x 8.5 metre room-filling wall display that was shown as a prominent eye-catcher in the Austrian pavilion at the 1937 World’s Fair in Paris. The collage was also to be shown at the 1939 World’s Fair in New York, but its presence was no longer desired by the new rulers after Austria’s annexation by Nazi Germany. The Viennese photographer Wolfgang Haas had documented both the early years of the Salzburg Festival and those of the Grossglockner High Alpine Road with his camera before he was forced to emigrate to the USA because of his Jewish ancestry.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
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    RAUM \/ ROOM 1<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]

    <\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“708,669,670,671,673″ flexible_slider_height=“true“ bullet_navigation=“true“ bullet_navigation_style=“see_through“ onclick=“link_image“ img_size=“600×400″][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
    Ralo Mayer, Die Erlk\u00f6nige und der Pasterzentest (Gro\u00dfglockner Hochalpenstra\u00dfe Naturkulturensage), 2021; 3 Drucke, Seidenpapier, je 220 x 130 cm, Soundcollage, Druckkammerlautsprecher, Verst\u00e4rker, MP3 Player<\/h6>\n
    Anna Meyer, Klitglacier, 2021, Gem\u00e4lde, \u00d6l auf Aluminium, 80 x 140cm<\/h6>\n
    Anna Meyer, Der Wei\u00dfe Rest: Fempol, Ich kann beim schlechtesten Willen, Schnee das Blut der Geister, Planettoo, 2020; 4 Modelle, Mischtechnik, kleine Bilder, Courtesy Galerie Krobath<\/h6>\n
    Jakob Canciani (1820\u20131891), Gro\u00dfglockner mit Pasterze, 1860\u20131870, \u00d6l auf Leinwand, 146 x 182,5 cm; Landesmuseum K\u00e4rtnen, Inv. Nr. K 146<\/h6>\n
    \u00a9 Alle Foto: Wolfgang Thaler 2021<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]In seiner Bild-, Text- und Soundcollage \u201eDie Erlk\u00f6nige und der Pasterzen-Test\u201c kombiniert Ralo Mayer uralte Mythen mit modernem Maschinenkult. Er bezieht sich zum einen auf die Pasterzen-Sage, wie sie im Tunnel des Gamsgrubenweges auf der Kaiser-Franz-Josefs-H\u00f6he den Bergwanderer*innen vorgestellt wird. In dieser Sage wird die Entstehung des riesigen Gletschers als Strafe Gottes fu\u0308r das respektlose Fehlverhalten der Bergbewohner*innen erkl\u00e4rt. Zum anderen bezieht er sich auf die Stra\u00dfe als Prototyp der Naturunterwerfung und Teststrecke fu\u0308r Prototypen neuer Automodelle, die als sogenannte Erlk\u00f6nige einen eigenartigen grafischen Tarnanzug tragen. Grafische Elemente der Stra\u00dfe, auf filigranem, wehenden Seidenpapier gedruckt, werden durch Soundsamples erg\u00e4nzt, die von einem alten Druckkammer-Lautsprecher abgespielt werden, wie er fu\u0308r Einsatzfahrzeuge, politische Demonstrationen und Sportgro\u00dfveranstaltungen typisch war.<\/p>\n

    Anna Meyer bezieht sich in ihren Gem\u00e4lden auf eine feministische Kritik der m\u00e4nnlich dominierten Landschaftsmalerei, die zuerst die touristische Erschlie\u00dfung der Bergwelt und in der Folge die Unterwerfung der Natur durch m\u00e4nnliche Ingenieure nach sich zog. Beides stellt sich in der Gro\u00dfglockner Hochalpenstra\u00dfe und der Tragik der Gletscherschmelze paradigmatisch dar. In ihren Gem\u00e4lden korrespondiert sie mit historischen Landschaftsgem\u00e4lden von Markus Pernhart und Jakob Canciani, indem sie exakt dieselben Blickwinkel einnimmt, der Idylle jedoch eine Dystopie entgegenstellt. In den Tischarbeiten erweitert sie den malerischen Raum in begehbare dreidimensionale Objekt- und Bildlandschaften, die, aus bemalten Mu\u0308ll- und Fundgegenst\u00e4nden gemacht, n\u00e4her an der harten Realit\u00e4t gebaut sind. Sie tragen dazu bei, die Landschaftsmalerei humorvoll-kritisch in die Gegenwart zu wenden. Es entstehen wilde, chaotische Bilder, die au\u00dfer Rand und Band ins Installative treten und die angesprochenen Themen st\u00e4rker ineinander verschr\u00e4nken.[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]In his image, text and sound collage \u201cDie Erlk\u00f6nige und der Pasterzen-Test\u201d, Ralo Mayer combines ancient myths and modern machinery cult. He refers, on the one hand, to the Pasterze legend as presented to mountain hikers in the tunnel of Gamsgrubenweg on Kaiser-Franz-Josefs-H\u00f6he. This legend explains the formation of the giant glacier as God\u2019s punishment for the disrespectful misbehaviour of the mountain people. And on the other, he refers to the road as prototype of the subjugation of nature and test track for new car models, so-called Erlkings (development mules), which wear strange graphic camouflage. Graphic elements of the road, printed on filigree, blowing silk paper, are complemented by sound samples played through one of those old horn loudspeaker that used to be typical for emergency vehicles, political demonstrations and big sports events.<\/p>\n

    Anna Meyer\u2019s paintings relate to a feminist criticism of male-dominated landscape painting that first brought the opening up of the mountain world to tourism and, subsequently, the subjugation of nature by the hands of male engineers. Grossglockner High Alpine Road and the tragedy of glacial melting present a paradigm of both. In her paintings, she communicates with historical landscape paintings by Markus Pernhart and Jakob Canciani by taking the exact same viewpoint but counterposing the idyll with a dystopia. In her table works, she expands the painterly space to three-dimensional object and image walk-in landscapes which, made of painted garbage and finds, are constructed closer to the harsh reality. In a humorous and critical manner, they help to shift landscape painting into the present. The results are unruly, chaotic pictures that go wild and tread into the field of installation while creating a closer intertwining of the topics mentioned.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]

    <\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n

    RAUM \/ ROOM 2<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]

    <\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“672,710,709″ flexible_slider_height=“true“ bullet_navigation=“true“ bullet_navigation_style=“see_through“ onclick=“link_image“ img_size=“600×400″][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
    Thomas H\u00f6rl & Peter Kozek mit Victor Jaschke, Lichth\u00f6he 2021; Film, Farbe, Ton, ca. 32 Min., verschiedene Fotofilmtechniken<\/h6>\n
    Thomas H\u00f6rl & Peter Kozek, Autozeichnung, 2020; Skizzenbuch, Graphit, Neonpapier in Insektenkasten, 28 x 20 cm<\/h6>\n
    Krinolinen, 2020; Metall-, Klebe-, Stoffb\u00e4nder, Schaumstoff, Ma\u00dfe variabel<\/h6>\n
    O. T. (Messst\u00e4be), 2020; Bambus, \u00c4ste, Lack, Klebeb\u00e4nder, verschiedene Gr\u00f6\u00dfen<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]Fu\u0308r den Film \u201eLichth\u00f6he\u201c nutzten Thomas H\u00f6rl und Peter Kozek das Privileg, mit ihrem Team mehrere N\u00e4chte in einer Hu\u0308tte auf 2400 Meter Seeh\u00f6he zu verbringen, um diese tagsu\u0308ber von Tourist*innen u\u0308berlaufene Bergwelt fu\u0308r sich allein zu haben und die danach umso bezaubernde Landschaft mit performativen und filmischen Mitteln zu \u201avermessen\u2019: Sie schreiben sich in historische und aktuelle Rituale ein, entnehmen Skripts, Gestalten und Ausstattung der Geschichte des historischen S\u00e4umerpfades ebenso wie aus der Gegenwart der Stra\u00dfenpflege und Schneer\u00e4umung und wenden sie in eine fiktionale Idealwelt. Zwischen inszenierter Natur und Ingenieurskunst entsteht so ein Raum der \u00e4sthetischen Erfahrung, in dem Vertrautes fremd und Fremdes vertraut wird. Im Museum wird der Film als Teil einer Rauminstallation gezeigt, in der grafische Skripts, ku\u0308nstlerisch verfremdete Objekte der Filmausstattung wie Pflastersteine oder Messst\u00e4be und Krinolinen, raumbildende Kostu\u0308me, ein Eigenleben erhalten.[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]For their film \u201cLichth\u00f6he\u201d, Thomas H\u00f6rl and Peter Kozek made use of the privilege of spending several nights with their team in a mountain hut at 2400m altitude in order to have this mountain world, overcrowded with tourists by day, all to themselves, and to \u201csurvey\u201d the then all the more enchanting landscape with performative and cinematic means: they inscribe themselves into historical and current rituals, draw scripts, characters and set design from the history of the historical mule trail as well as from present-day road maintenance and snow clearing and shift it all into a fictional ideal world. Between staged nature and engineering art, this results in a space of aesthetic experience where the familiar becomes alien and the alien becomes familiar. The film is shown in the museum as part of a spatial installation in which graphical scripts, artistically alienated set design objects like paving stones or measuring rods, and crinolines, space-forming costumes, are given a life of their own.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
    <\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n

    RAUM \/ ROOM 3<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]

    <\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“667,665,666″ flexible_slider_height=“true“ bullet_navigation=“true“ bullet_navigation_style=“see_through“ onclick=“link_image“ img_size=“600×400″][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
    Hannes Zebedin, Rot, 2021; Installation, Holz, Modelle, Richtschnur, Fotocollagen, 30 x 40 cm<\/h6>\n
    Anna Meyer, Heligletscher, 2021; Gem\u00e4lde, \u00d6l auf Aluminium, 80 x 140 cm, Courtesy Galerie Krobath<\/h6>\n
    Hubert Lobnig, To be seen, 2021; Fine Art Prints auf B\u00fctten, diverse Gr\u00f6\u00dfen, Vitrine, 158 x 73 cm<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]Der Ku\u0308nstler Hannes Zebedin interessiert sich fu\u0308r die flie\u00dfende topografische Grenze zwischen der (menschlich) organisierten und landwirtschaftlich genutzten Kulturlandschaft und der unkontrollierbaren Naturlandschaft in den hochalpinen Zonen entlang der Gro\u00dfglockner Hochalpenstra\u00dfe. Die Lawinenverbauungen stellen fu\u0308r ihn massive Markierungen dieser Grenzen dar. Er zieht eine horizontale rote Grenzlinie durch den Ausstellungsraum des Museums und baut einen Lawinenrechen als Rauminstallation und Display fu\u0308r Modelle der zwei gro\u00dfformatigen Skulpturen, die er unter dem Titel \u201eInseln der Seligen\u201c am Berg errichtet. Mit dieser Arbeit will er die doppeldeutige Funktion des Ein- und Ausschlusses durch Grenzen \u2013 auch auf den politischen und \u00f6konomischen Kontext ausgeweitet \u2013 thematisieren. Zus\u00e4tzlich zeigt er Fotocollagen der Berglandschaft mit rot eingef\u00e4rbten Schafen, die entlang dieser H\u00f6henzone weiden und w\u00e4hrend ihrer Wanderungen diese Grenzlinien dynamisch umspielen.[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]The artist Hannes Zebedin’s interest is in the fluid topographical boundary between the (humanly) organised and agriculturally used cultivated landscape and the uncontrollable natural landscape in high alpine zones along the Grossglockner High Alpine Road. To him, avalanche barriers represent massive markers of these boundaries. He is drawing a horizontal red line through the exhibition room of the museum and building an avalanche snow bridge to serve as spatial installation and display for models of the two large-format sculptures that he is putting up on the mountain, under the title \u201cInsel der Seligen\u201d. He intends his work to raise the subject of the ambivalent function of in- and exclusion by borders \u2013 extended also to the political and economic context. Furthermore, he presents photo collages of the alpine landscape, featuring sheep painted in red which graze along this altitudinal range and, while wandering, dynamically skirt those boundary lines.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
    <\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n

    RAUM \/ ROOM 4<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]

    <\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“663,664″ flexible_slider_height=“true“ bullet_navigation=“true“ bullet_navigation_style=“see_through“ onclick=“link_image“ img_size=“600×400″][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
    Hubert Lobnig, Phantom Rides Glockner Hochalpenstra\u00dfe, 2021; Videoinstallation, Projektor, 2 Spiegel, 60 x 60\/46 cm<\/h6>\n
    Iris und Widmar Andraschek, Gro\u00dfglocknerfahrt, ca. 1966\/2021; Super 8 Film, 7:32 Min., digitalisiert<\/h6>\n
    Iris Andraschek, Golden Times, 2020; Farbdrucke gl\u00e4nzend auf Aluminium, 40 x 30 cm, Auflage 7 + 2 E.A.<\/h6>\n
    Markus Pernhart (1824\u20131871), Gro\u00dfglockner von der Adlersruhe, um 1860; \u00d6l auf Leinwand, 72 x 87 cm, Landesmuseum K\u00e4rnten, Inv. Nr. K 17<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]2020 haben sich Iris Andraschek und Hubert Lobnig mit zwei geparkten PKWs als ku\u0308nstlerische Interventionen in die hochalpine Erlebniswelt eingeschrieben. In einer hier erstmals gezeigten Arbeit stellt Hubert Lobnig eine visuelle Diskursanalyse vor. Er versammelt darin die von Besucher*innen zu den Arbeiten erstellten und online zirkulierenden Bilder und Botschaften, um die Vielfalt der sich in den sozialen Medien verselbst\u00e4ndigenden Kommentare nachzuzeichnen. In einer weiteren Installation zeigt Lobnig durch die Seiten- und Frontscheibe gefilmte Videoaufnahmen verschiedener Fahrten auf der Gro\u00dfglockner Hochalpenstra\u00dfe, die er so montiert, dass sie sich zuerst zu einem Kontinuum fu\u0308gen, das jedoch, durch die Projektion u\u0308ber eine Spiegelecke wiederum zerlegt, in unterschiedliche Richtungen des Raumes zuru\u0308ckgeworfen wird \u2013 und eine Desorientierung bei den Betrachtenden nach sich zieht.
    \nIris Andraschek pr\u00e4sentiert einen neu digitalisierten Super 8 Film ihres Vaters aus der Mitte der 1960er Jahre, der sich mit einer Gruppe an die Besteigung des Gro\u00dfglockners wagt und sich durch das gleichzeitige Filmen und Passieren der Glocknerscharte, einer extrem schmalen Stelle, selbst in Gefahr bringt. Hier deckt sich der Blick seiner Kamera mit dem des Malers Markus Pernhart in seinem beru\u0308hmten Glocknergem\u00e4lde von 1860, das die Anf\u00e4nge des Bergtourismus markiert und hier in diesem Museum neben der Projektion h\u00e4ngt.[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]In 2020 Iris Andraschek and Hubert Lobnig took two parked cars as artistic interventions to inscribe themselves into the high alpine world of experience. In a work first shown here, Hubert Lobnig presents a visual discourse analysis. In it he gathers the visitor-made pictures and messages circulating online, in order to portray the variety of comments that take on a life of their own in social media. In another installation, Lobnig presents video recordings of various rides on Grossglockner High Alpine Road filmed through the side window and windshield, which he edits so that at first, they combine into a continuum, which, however, taken apart again by its projection over a mirror corner, is reflected in different directions of the room \u2013 causing disorientation in the beholders.
    \nIris Andraschek presents a newly digitised Super 8 film from the mid-1960s made by her father, who ventures to climb Grossglockner together with a group, putting himself in danger by simultaneously filming and negotiating Glocknerscharte, an extremely narrow section. The view of his camera here matches that of the painter Markus Pernhart in his famous Glockner painting from 1860, which marks the beginnings of alpine tourism and is hanging here, in this museum, next to the projection.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
    <\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n

    Museum Moderner Kunst K\u00e4rnten, Burggasse 8, 9021 Klagenfurt am W\u00f6rthersee, Austria<\/p>\n

    T: +43(0)50.536.16252 \u00b7 www.mmkk.at<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“center“ overlay_strength=“0.3″ shape_divider_position=“bottom“ shape_type=““][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]

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    <\/div><\/div>
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