{"id":91,"date":"2020-07-06T21:29:16","date_gmt":"2020-07-06T19:29:16","guid":{"rendered":"http:\/\/heavenandhell.tracingspaces.net\/?page_id=91"},"modified":"2022-04-11T17:00:23","modified_gmt":"2022-04-11T15:00:23","slug":"album","status":"publish","type":"page","link":"https:\/\/tracingspaces.net\/heavenandhell\/","title":{"rendered":"Kunstwerke | Art Works"},"content":{"rendered":"[vc_row type=“full_width_content“ full_screen_row_position=“middle“ equal_height=“yes“ full_height=“yes“ bg_color=“#fff000″ scene_position=“center“ text_color=“dark“ text_align=“left“ 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“]
\"\"<\/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“ 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“]
<\/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

SERPENTINE<\/span><\/h3>\n

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“]
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Tempor\u00e4re Kunstinterventionen entlang der Gro\u00dfglockner Hochalpenstra\u00dfe
\nTemporary art interventions along the Grossglockner High Alpine Road<\/p>\n

2020 \u2013 2022<\/p>\n

Mit | With: Iris Andraschek & Hubert Lobnig, Thomas H\u00f6rl & Peter Kozek,
\nRalo Mayer, Anna Meyer und Hannes Zebedin<\/p>\n

KURATOR | CURATOR: Michael Zinganel<\/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_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]Die Gro\u00dfglockner-Hochalpenstra\u00dfe und die durch ihre m\u00e4andernde Streckenf\u00fchrung inszenierte Landschaft bieten den mobilisierten Besucher*innen geradezu \u00fcberw\u00e4ltigende \u00e4sthetische Sensationen. Gegen\u00fcber den enormen Weiten, H\u00f6hen und Tiefen des be-<\/em> und er-<\/em>fahrenen Raumes, der Gl\u00fccksgef\u00fchle und Todesangst gleicherma\u00dfen evoziert, k\u00f6nnen Kunstwerke, wenn sie nicht v\u00f6llig unangemessene monumentale Dimensionen annehmen, kaum eine erh\u00f6hte Aufmerksamkeit f\u00fcr sich gewinnen. K\u00fcnstler*innen k\u00f6nnen durch ihre Interventionen bestenfalls den Blick auf ausgew\u00e4hlte Themen, die in der spezifischen politischen, Technik-, Natur-, und Kultur-Geschichte dieser touristischen Erlebnis-Landschaft und ihrer Transformationen bereits angelegt sind, sch\u00e4rfen oder diese neu befragen.<\/p>\n

In ihren Recherche-basierten und ortsspezifischen Arbeiten stellen sich die eingeladenen K\u00fcnstler*innen nicht\u00a0gegen diese grandiose alpine Erlebnislandschaft, sondern integrieren sich in existierende religi\u00f6se, politische, verkehrstechnische, landwirtschaftliche und touristische Darstellungstechniken und Rituale.<\/p>\n

Sie sch\u00e4rfen den Blick f\u00fcr Themen, die in der Geschichte des Stra\u00dfenprojekts bereits angelegt sind: die\u00a0Obsession zur Beherrschung der Natur, der Weg als Ziel, die Stra\u00dfe als Sportger\u00e4t, Teststrecke und Wallfahrtsroute, die Gl\u00fccksgef\u00fchle und Todes\u00e4ngste, die sich hier gleicherma\u00dfen einstellen, die Fahrzeuge als essentielle Weggef\u00e4hrt*innen, die Vertreter*innen der menschliche Spezies in gro\u00dfer Anzahl und Dichte hoch hinauf und tief hinunter durch die Landschaft tragen, durch Lebensr\u00e4ume von Wild- und Nutztieren, entlang steigender Schneegrenzen und schmelzender Gletscher \u2013 deren Erhabenheit wie die Verletzlichkeit immer vor Augen.[\/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 Grossglockner High Alpine Road and the landscape staged by its meandering route offer overwhelming aesthetic sensations to the mobilised visitors. In contrast to the enormous widths, heights and depths of the space they travel through and experience, which evokes feelings of joy and fear of death in equal measure, works of art, unless they assume completely inappropriate monumental dimensions, can hardly attract more attention. Through their interventions, artists can at best sharpen the view on selected issues that are already embedded in the specific political, technical, natural and cultural history of this tourist experience landscape and its transformations, or question them anew.<\/p>\n

In their research-based and site-specific works, the artists do not challenge this grandiose alpine landscape, but instead integrate themselves into existing religious, political, traffic, agricultural and tourist representational techniques and rituals.<\/p>\n

They sharpen the eye for subjects that are already part of the history of the road project: the obsession for mastering nature, the road as the destination, the road as a sports ground, test track, and place of pilgrimage, the feelings of joy and the fear of death that arise here in equal measure. Here, vehicles are essential companions that carry large numbers and densities of the human species through the landscape \u2013 up to the heights and down again, through the habitats of wild game and farm animals, paralleling receding snow lines and melting glaciers \u2013 their sublimity and vulnerability always right there, in front of our eyes.<\/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“]

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ANNA MEYER
\nWELTSCHMELZ<\/p>\n[\/vc_column_text]

<\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“523,530,524,535,615,616″ 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
2 Gem\u00e4lde | paintings, oil paint, aluminium dibond | 420 x 200 cm
\n1 Gem\u00e4lde | painting, oil paint, aluminium dibond | 240 x 189 cm
\n12 Gem\u00e4lde | paintings, oil paint, aluminium dibond | 140 x 80 cm
\nClick on the pictures above to view them in their correct proportions!<\/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]Die Landschaftsmaler des fr\u00fchen 19. Jahrhunderts haben mit ihren idealisierten Darstellungen der Alpen ma\u00dfgeblich dazu beigetragen, den vormaligen Angstraum in eine MUST SEE-Destination f\u00fcr den aufkommenden Berg-Tourismus zu verwandeln.<\/p>\n

Damals wurden diese wundersch\u00f6nen Bilder in die Stadt getragen, um St\u00e4dter zu mobilisieren und die exotische Bergwelt aufzusuchen. Heute bringt die K\u00fcnstlerin Anna Meyer auf den ersten Blick ebenso sch\u00f6ne \u00d6lbilder zur\u00fcck in die Landschaft. Sie integriert sich mit ihren Original-Gem\u00e4lden absichtlich in die typischen touristischen Display-Techniken entlang dieser Erlebnislandschaft: Sie benutzt bestehende Strukturen, Panoramatafeln, Billboards und kleine Info-Pulte f\u00fcr Natur-Lehrpfade, die an signifikanten Aussichtspunkten postiert sind. Dabei setzt sie ihre Bilder so, dass sich der Blick auf den aktuellen Zustand der Landschaft mit dystopischen Visionen der K\u00fcnstlerin \u00fcberlagert. Der Aspekt der Angst kehrt mit diesen Bildern wieder in die Alpen zur\u00fcck: Nicht mehr D\u00e4monen l\u00f6sen die Angst aus, sondern die Fahrt aufnehmenden Folgen der menschlichen Eingriffe in die Natur: \u201eWie der sensible Zahnschmelz ist der Gletscher am Schmelzen und zeigt schmerzhaft den Schmerz der Welt auf.\u201c[\/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 landscape painters of the early 19th century, with their idealised depictions of the Alps, made a significant contribution to transforming the former Angstraum (an area of fear) into a MUST SEE destination for the emerging mountain tourism.<\/p>\n

At that time, these beautiful paintings were carried into the city to mobilize city dwellers to visit the exotic mountain world. Today, the artist Anna Meyer brings back oil paintings that at first glance appear just as beautiful. With her original paintings, she deliberately integrates herself into the typical tourist display techniques along this adventure landscape: she uses existing structures, panorama boards, billboards and small information desks for nature trails, which are positioned at significant viewpoints. In doing so, she sets her images in such a way that the current view of the landscape is superimposed by the artist\u2019s dystopian future visions. The aspect of fear returns to the Alps with these images: it is no longer demons that trigger fear, but the accelerating consequences of human intervention in nature: „Like the sensitive enamel of teeth, the glacier is melting and painfully reveals the pain of the world.\u201d[\/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“][nectar_btn size=“small“ open_new_tab=“true“ button_style=“see-through-2″ hover_text_color_override=“#ffffff“ icon_family=“none“ url=“https:\/\/kunstund.blogspot.com\/2021\/08\/weltschmerz.html“ text=“Interview mit Anna Meyer“][\/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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RALO MAYER
\nNATURKULTURENTEILELAGER
\n(WER REITET SO SP\u00c4T DURCH\u2026)<\/p>\n[\/vc_column_text]

<\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“527,582,605,604″ 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
Folierte gebrauchte Autoteile, Stapelpaletten, variable Masse | Foil wrapped used car parts, stacking pallets, variable dimensions
\nClick on the pictures above to view them in their correct proportions!<\/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]Die Stra\u00dfe war und ist eine Teststrecke f\u00fcr das automobile Er-Fahren des Verh\u00e4ltnisses von Natur und Gesellschaft, wo das Selbstbild der Nation, ihre politische Geschichte vom Austrofaschismus \u00fcber die Nachkriegsidentit\u00e4tsfindung bis zu den Folgen der globalen Erw\u00e4rmung erprobt und vorgef\u00fchrt werden. Hier \u201eperformen\u201c auch zeitgen\u00f6ssische Prototypen: Testfahrzeuge zuk\u00fcnftiger Modelle von namhaften Automobil-Konzernen werden in den Extremsituationen der Gro\u00dfglockner-Hochalpenstra\u00dfe auf ihre Alltagstauglichkeit gepr\u00fcft. Diese (nach J. W. v. Goethe benannten) \u201eErlk\u00f6nige\u201c tragen eine spezielle Tarn-Tracht. Deren Muster sollen sie nicht in Unsichtbarkeit verstecken, sondern in aller Auff\u00e4lligkeit zeigen: Die aufgeklebte Folie dient als Ablenkungsman\u00f6ver, das die konkreten Umrisse verschwimmen l\u00e4sst. Dieses Prinzip der \u201edisrupted patterns\u201c erscheint als perfekter Kommentar zur Inszenierung der Natur-Kultur-Differenz, auf die der Erfolg der \u201eErlebnis\u201c-Stra\u00dfe aufbaut. Ralo Mayer stellt zuerst entlang der Stra\u00dfe Lager mit gebrauchten Autoteilen dieser \u201eErlk\u00f6nige\u201c auf, deren Muster er aus ausgew\u00e4hlten historischen und aktuellen Abbildungen dieser Stra\u00dfe collagiert. 2021 wendet er das Prinzip dann auch auf einer der blauen Rotations-Schneefr\u00e4sen \u201eSystem Wallack\u201c an, die vom Erbauer der Stra\u00dfe Ing. Wallack entwickelt und 1953\/54 in Betrieb genommen wurden: Eines dieser Monumente der Naturbeherrschung durch Technik, der \u201eEisb\u00e4ndiger\u201c, wird zum Erlk\u00f6nig, der Geschichtsfragmente in seinem grafischen Muster tr\u00e4gt.[\/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 road was and is a test track for the relationship between nature and society, where the self-image of the nation, its political history from Austro-fascism to post-war identity building and the consequences of global warming are tested and staged.<\/p>\n

Here also actual prototypes perform: Test vehicles of future models of well-known automobile companies are tested in the extreme situations of the alpine road for their fitness for everyday use. These so-called Erlk\u00f6nige (Elf- or Erl-Kings, according to Johann Wolfgang von Goethe) wear special costumes of camouflage. The patterns do not hide with invisibility, but rather with conspicuousness: the attached foil serves as a deflection manoeuvre that makes the automotive outlines blur into each other. This principle of the \u201ddisrupted patterns\u201c seems like a perfect commentary on the staging of the nature-culture-difference on which the success of this road is based. Ralo Mayer first exhibited scrapyard racks of used car parts from these prototypes. Their patterns are composed of collaged images, which the artist found and selected on site and in archives about the very history of this road. Then, in 2021 he applied this principle to the large blue rotary snow blowers \u201cSystem Wallack\u201d developed by the road\u2019s builder Ing. Wallack and put into operation in 1953\/4. One of these monuments of nature\u2019s mastery through technology, named \u201cEisb\u00e4ndiger\u201d (Ice tamer) is transformed into an Erl-King by being foiled with a graphic pattern reflecting the history of this road.[\/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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THOMAS H\u00d6RL & PETER KOZEK
\nLICHTH\u00d6HE<\/p>\n[\/vc_column_text]

<\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“478,479,480,481,482″ 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
Film, digitale Serienbildsequenzen 6K 12p, den Link zum Trailer des Films finden Sie unten \u00a0\u2013 die Vollversion ab Fr\u00fchjahr 2021 |
\nFilm, digital image series 6K 12p, you will find a link to watch \u00a0 the trailer below \u2013 the full version will be available in spring 2021.
\nClick on the pictures above to view them in their correct proportions!<\/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]Die Bilder, die wir kennen, stehen auf gemeinsamem Grund: Aussichtspunkte, Haltebuchten, Panoramastrecken gliedern unsere Wahrnehmung des Hochgebirges. An diesen Orten schreiben sich die K\u00fcnstler mit ihren performativen Inszenierungen in historische und aktuelle Rituale ein, entnehmen Skripts und Ausstattung aus Szenen der Geschichte des historischen S\u00e4umerpfades ebenso wie aus der Gegenwart der Stra\u00dfenpflege und Schneer\u00e4umung. Zwischen inszenierter Natur und Ingenieurskunst entsteht ein Raum der \u00e4sthetischen Erfahrung, in dem Vertrautes fremd und Fremdes vertraut wird. Hier korrespondiert die \u00e4u\u00dfere Bewegung der Serpentinen mit der inneren Bewegung des*r Betrachter*in. Die hier entstehenden Bilder werden zu Sequenzen montiert, die sich wiederum in die touristischen Displays entlang der Stra\u00dfe einf\u00fcgen: in Panorama-TVs in Raststationen, Infokiosks und Ausstellungen zu Themenparks und deren Geschichte.<\/p>\n

LICHTH\u00d6HE erkundet die Schichten eines architektonisch-tektonischen Gesamtgebildes, in dem sich Erd- und Menschheitsgeschichte, Ehrfurcht und Konsum, Tradition und Ausnahmezustand \u00fcberlagern.[\/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 images we are familiar with share a common ground: vantage points, stopping places, panoramic routes structure our perception of the high mountains. At these locations the artists inscribe themselves with their performative stagings into historical and contemporary rituals, taking scripts, props and costumes from scenes from the history of the historic mule track as well as from the present day of road maintenance and snow removal. Between staged nature and the art of engineering, a space of aesthetic experience is created in which the familiar becomes strange and the foreign becomes familiar. Here the outer movement along the serpentines corresponds with the inner movement of the viewer. The images created here are assembled into sequences, which in turn fit into the tourist displays along the road: in panorama TVs in rest stops, info kiosks and theme park exhibitions about its history.<\/p>\n

LICHTH\u00d6HE, the title of the work is a play on words that connects high altitude with lightness. It explores the layers of an architectonic-tectonic setting, in which earth and human history, respect for the sublime and mass consumption, tradition and state of emergency overlap.[\/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“][nectar_btn size=“small“ open_new_tab=“true“ button_style=“see-through-2″ hover_text_color_override=“#ffffff“ icon_family=“none“ url=“https:\/\/vimeo.com\/449238703″ text=“Video Trailer „][nectar_btn size=“small“ open_new_tab=“true“ button_style=“see-through-2″ hover_text_color_override=“#ffffff“ icon_family=“none“ url=“https:\/\/kunstund.blogspot.com\/2022\/04\/andere-impressionen-vom-groglockner.html“ text=“Rezension des Videos“][\/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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IRIS ANDRASCHEK & HUBERT LOBNIG
\nEIN RIESIGES VERGN\u00dcGEN<\/p>\n[\/vc_column_text]

<\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“612,613,611,610,587,588″ 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
Gebrauchtwagen, Kn\u00fcpf- und Webteppiche, Nieten | Used Car, knotted and woven carpets, rivets
\nKombi, Murmeltiere, Dachgalerie, Alpenpflanzen | station wagon, marmots, roof gallery, alpine plants
\nGolden Porsche, Gefrieraggregate | Golden Porsche, freezing units; 2021
\nClick on the pictures above to view them in their correct proportions!<\/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 Titel des Gesamtprojekts spielt auf eine vergangene Zeit an, in der den Menschen das Bauen und Befahren von Stra\u00dfen und die Bezwingung und Unterwerfung der Natur einen grenzenlosen Zuwachs an Vergn\u00fcgen bescherte. Hier wird nach wie vor suggeriert, dass die Menschen in ihren Autos an unber\u00fchrter Natur vorbeigef\u00fchrt werden und die Aussicht auf Berge, Pflanzen und Tiere bewundern k\u00f6nnen, die positiv gewendete Geschichte der Stra\u00dfe rezipieren oder die Vorz\u00fcge der alpinen K\u00fcche kennenlernen, ohne ihre eigene Rolle und deren Konsequenzen mitbedenken zu m\u00fcssen.<\/p>\n

In ihrer Arbeit platzieren die K\u00fcnstler*innen mehrere Fahrzeuge an speziellen Orten entlang der Stra\u00dfe, die unterschiedliche Aspekte des aktuellen Zustandes der Welt ber\u00fchren. Durch eine leichte Verschiebung von Realit\u00e4ten werden \u00fcber die Arbeiten Einblicke in andere Welten er\u00f6ffnet: auf Globalisierung, Mobilit\u00e4t und Migration, den Umgang mit der Natur, das Schmelzen der Gletscher\u2026<\/p>\n

POST NATURE: Ein Kombi, das klassische Familien- und Transportfahrzeug wird in eine experimentelle Aussichtsstelle der Naturforschungs-Station verwandelt \u2013 sein Innenraum in ein Diorama aus Felsen mit pr\u00e4parierten Murmeltieren und das Dach in eine Galerie f\u00fcr Alpenpflanzen.<\/p>\n

NOMAD: \u00dcber und \u00fcber mit Kn\u00fcpf- und Webteppichen beh\u00e4ngt verweist NOMAD auf die m\u00fchsamen Alpen\u00fcberquerungen entlang historischer G\u00fcterwege, auf den Transport von Kulturg\u00fctern, ebenso aber auch auf liebevoll beladene Familienautos, die das Hab und Gut aus L\u00e4ndern des globalen S\u00fcdens nach Norden tragen.<\/p>\n

FROST: W\u00e4hrend das Eis des Gletschers augenscheinlich f\u00fcr alle schmilzt, wird auf einem Parkplatz in Sichtbeziehung zu dieser Trag\u00f6die ein goldener Porsche geparkt, dessen Innenraum mittels eingebauter Gefrieraggregate und gro\u00dfem Energieaufwand in eine dauerhafte Eish\u00f6hle verwandelt wird.[\/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]A Great Pleasure, the title of the overall project, refers to a bygone era in which people building and driving on roads and conquering and subjugating nature gave them a boundless increase in pleasure. Here it is still suggested that people are led past untouched nature in their cars and can admire the view of mountains, plants and animals, receive the positively turned history of the road or get to know the advantages of alpine cuisine without having to consider their own role and its consequences.<\/p>\n

In their work, the artists place several used vehicles at special locations along the road, touching on different aspects of the current state of the world. By slightly shifting realities, the works open up insights into other realms: globalization, mobility and migration, dealing with nature, the melting of the glacier…<\/p>\n

POST NATURE: A station wagon, a classic family and transport vehicle, is transformed into an experimental exhibit close to the natural research station – its interior becomes a diorama of rocks with prepared marmots and the roof is transformed into a gallery for Alpine plants.<\/p>\n

NOMAD: Covered all over with knotted and woven carpets, NOMAD refers to the arduous crossing of the Alps along historical goods routes and mule tracks, to the exchange of cultural assets, but also to lovingly loaded family cars that carry their belongings from countries of the global south to the north.<\/p>\n

FROST (FREEZE): While the ice of the glacier is apparently melting for all to see, a golden Porsche is parked in a car park in line of sight of this tragedy, its interior transformed into a permanent ice cave by means of built-in freezing units and a great expenditure of energy.[\/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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HANNES ZEBEDIN<\/p>\n[\/vc_column_text]

<\/div><\/div>[vc_gallery type=“nectarslider_style“ images=“293,600,296,601,297,599″ 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
INSEL DER SELIGEN, 2 kreisf\u00f6rmige Territorien, Rundholz entrindet, H\u00f6he 2,30 m, Durchmesser ca. 5 m \/ 2 circular territories, round wood debarked, height 2.30 m, diameter approx. 5 m; 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]Die Alpen dienen seit der Moderne als Hintergrund f\u00fcr die Bildproduktion verschiedenster T\u00e4tigkeiten. Der K\u00fcnstler Hannes Zebedin interessiert sich f\u00fcr die topografische Grenze zwischen der (menschlich) organisierten, landwirtschaftlich genutzten Kulturlandschaft entlang der Gro\u00dfglockner Hochalpenstra\u00dfe und der unkontrollierbaren Naturlandschaft in den hochalpinen Zonen \u00fcber ihr. Wie die Schneegrenze ist diese dynamisch in Bewegung. Als Gedankenmodell zieht Hannes Zebedin eine rote Linie durch die Landschaft. Die Lawinenverbauungen stellen f\u00fcr ihn massive Markierungen dieser Grenze dar und gleichzeitig eine Schutzma\u00dfnahme f\u00fcr Tourist*innen und Nutztiere. Inspiriert von ihrer Bauform und Funktion errichtet er unter dem Titel \u201eInseln der Seligen\u201c zwei gro\u00dfformatige Skulpturen, die jeweils kreisrunde Territorien abstecken. Durch die unterschiedliche Neigung der Holzst\u00e4mme verweist er auf die doppeldeutige Funktion von Schutz und Abwehr, Ein- und Ausschluss durch Grenzen, die er (nach den Erfahrungen der Fl\u00fcchtlingswelle und Reiserestriktionen w\u00e4hrend der COVID-Krise) auch auf den politischen und \u00f6konomischen Kontext ausweitet.[\/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]With the beginning of the modern age, the Alps have served as a background for the image production of a wide variety of activities. The artist\u2019s interest is in the fluid topographical boundary between the (humanly) organised and agriculturally used landscape along the Grossglockner High Alpine Road and the uncontrollable natural landscape that lies above it in high alpine zones. As a thought model, Hannes Zebedin virtually draws a horizontal red line through the landscape. To him, avalanche barriers represent massive markers of these boundaries while at the same time they are a protective measure for both tourists and sheep. Inspired by the form and function of the construction, he erects two large-format sculptures\u2013entitled „Islands of the Blessed“., which mark out circular territories. The different inclination of the tree trunks conveys the intention of his work to raise issues of functional ambiguity: of protection and defence, inclusion and exclusion by borders, and, after the experiences of the wave of refugee travel restrictions during the COVID crisis, he also extends this into the political and economic context.[\/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“]
<\/div><\/div>[nectar_btn size=“small“ open_new_tab=“true“ button_style=“see-through-2″ hover_text_color_override=“#ffffff“ icon_family=“none“ text=“Only in Summer 2021: Additonal Artworks at MMKK Klagenfurt“ url=“https:\/\/tracingspaces.net\/heavenandhell\/MMKK“][\/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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