\n \u003C/p>\n\u003Cp>2017 \u003Cbr>\n Master of Fine Arts in Art in Public Spheres, Hochschule Luzern, Schweiz. \u003Cbr/>\n \u003C/p>\n\u003Cp>2012\u003Cbr>\n Projekt: “300 Jahre Liechtensteiner Oberland – Tourism, Spa-Hotels, Alps.” \n \u003Cbr/>\n \u003C/p>\n\u003Cp>2011-13\u003Cbr>\nMitglied im Vorstand des Berufsverbands der bildendenden Künstler/innen in Liechtenstein. visarte.Liechtenstein (BBKL)\u003C/p>\n\u003Cp>2001-03\u003Cbr>\nStudie in Geistiger Psychologie an der Landegg International University, Schweiz. \u003C/p>\n\u003Cp>2000-01\n \u003Cbr>\nGrafik Design Kurs an der University of California, Berkeley, USA. \u003Cbr/>\n \u003C/p>\n\u003Cp>1996-98\n \u003Cbr>\n Multimedia Studies an der San Francisco State University, USA.\u003C/p>\n\u003Cp>1996\n \u003Cbr>\n Studie in Arts & Consciousness an der John F. Kennedy University in Orinda, Kalifornien, USA.\u003C/p>\n\u003Cp>1995\n \u003Cbr>\nBachelor of Fine Arts in Painting am San Francisco Art Institute (SFAI), California, USA. \u003C/p>\n\u003Cp>1989-90\u003Cbr>\n Jahr des Dienstes am Baha’i Weltzentrum in Haifa, Israel. \n \u003Cbr/>\n\u003C/p>\n\u003Cp>1986-89\n \u003Cbr>\n Schule für Mode und Gestaltung, Floristik, Zürich, Schweiz. \u003Cbr/>\n\u003C/p>\n\u003Cp>1969\n \u003Cbr>\n geboren in Vaduz, Liechtenstein.\u003C/p>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Solo\u003C/strong>\u003C/p>\n\u003Cp>2022\u003C/p>\n\u003Cul>\n \u003Cli>Nachbarschaftsbühne: Installation Schwefel Quartier, Vaduz\u003C/li>\n\u003C/ul>\n\u003Cp>\n2016-2017\n\u003Cul>\n \u003Cli>Turmmatt, auf der Suche nach neuen Strukturen, Altdorf, Schweiz.\u003C/li>\n\u003C/ul>\n\u003Cp>2016\n\u003C/p>\n\u003Cul>\n \u003Cli>aus dem Gleichgewicht (out of balance), Kunstraum Engländerbau, Vaduz, Liechtenstein.\u003C/li>\n\u003C/ul>\n\u003Cp>2015\n\u003C/p>\n\u003Cul>\n \u003Cli>Trees, Bildungszentrum Stein Egerta, Schaan, Liechtenstein.\n \n \n \u003C/li>\n \u003Cli>Kunstzähne, Zahnarztpraxis Dr. Markus Lingg, Liechtenstein.\n \n \u003C/li>\n \u003Cli>Nude – Open Atelier Feat. Special Guest Merz. \u003C/li>\n\u003C/ul>\n\u003Cp>2014\n\u003C/p>\n\u003Cul>\n \u003Cli>Life and beyond, Praxis Dr. Jehle, Vaduz, Liechtenstein.\n \n \n \n \u003C/li>\n \u003Cli>Fragmente, Schlösslekeller, Vaduz, Liechtenstein.\n \n \n \n \u003C/li>\n \u003Cli>Unter uns, Galerie domus, Schaan, Liechtenstein.\n \n \n \u003C/li>\n\u003C/ul>\n\u003Cp>2013 \u003C/p>\n\u003Cul>\n \u003Cli>Sektionen – Kunst trifft Gewerbe, Wirtschaftskammer Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>2012 \u003C/p>\n\u003Cul>\n \u003Cli>Materie, Ziel und Grundlage des Lebens? Baha’i-Zentrum, Biel, Schweiz. \u003C/li>\n\u003C/ul>\n\u003Cp>2011 \u003C/p>\n\u003Cul>\n \u003Cli>Atelierbesuch #3, Org. Kunstgesellschaft Liechtenstein, Sennwald, Schweiz. \u003C/li>\n\u003C/ul>\n\u003Cp>———\n Hiatus ———\u003C/p>\n\u003Cp>1998 \u003C/p>\n\u003Cul>\n \u003Cli>The Factory, San Francisco, California, USA. \u003C/li>\n\u003C/ul>\n\u003Cp>1997 \u003C/p>\n\u003Cul>\n \u003Cli>Verwirrungen (Windings), Theater am Kirchplatz, Schaan, Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>1994 \u003C/p>\n\u003Cul>\n \u003Cli>Casa Alba, Association Artistas de Altea, Altea, Spanien.\n \u003Cbr>\n \u003C/li>\n\u003C/ul>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Gruppen\u003C/strong>\u003C/p>\n\u003Cp>2024\u003C/p>\t\n\u003Cul>\n \u003Cli>\u003Ca href=\"https://issuu.com/sfartistsalumni/docs/influx_catalog\" target=\"_blank\" />IN FLUX\u003C/a>: Articles of Belonging, The Museum of Northern California Art, Chico, Kalifornien\u003C/li>\n\u003C/ul>\n\u003Cp>2022\u003C/p>\n\u003Cul>\n \u003Cli>Konzeptentwicklung: Triennale 2024, Visarte Liechtenstein\u003C/li>\n\u003C/ul>\n\u003Cp>2021\u003C/p>\n\u003Cul>\n \u003Cli>Carpet Dialogues, Tiakina | Take Care, Papakura Art Gallery, Auckland, Neuseeland.\u003C/li>\n \u003Cli>Cheorwon, KUNST KANN, Bildungshaus St. Hippolyt, St. Pölten, Österreich.\u003C/li>\n \u003Cli>Cheorwon, KUNST KANN, Schloss Tirol / Castel Tirolo, Tirol (BZ), Italien.\u003C/li>\n\u003C/ul>\n\u003Cp>2020\u003C/p>\n\u003Cul>\n\t\u003Cli>aus dem Gleichgewicht (out of balance), Tiakina | Take Care, Arthaus Contemporary, Auckland, Neuseeland.\u003C/li>\n\t\u003Cli>Home Grown, Gasometer Kulturzentrum, Triesen, Liechtenstein\u003C/li>\n\t\u003Cli>Cheorwon, KUNST KANN, Haus am Lützowplatz, Berlin, Deutschland.\u003C/li>\n\t\u003Cli>Cheorwon, KUNST KANN, Kunstraum Engländerbau, Vaduz, Liechtenstein.\u003C/li>\n\u003C/ul>\n\u003Cp>2019 \u003C/p>\n\u003Cul>\n \u003Cli>Cheorwon, Art Politic-Border Crossing ONSAEMIRO, Seoul/Suwon, Südkorea.\u003C/li>\n \u003Cli>Cheorwon, Liechtenstein in Bern in Liechtenstein, Tramdepot Burgernziel, Bern, Schweiz.\u003C/li>\n\u003C/ul>\n\u003Cp>2016\n\u003C/p>\n\u003Cul>\n \u003Cli>Portakal Cicegi Intl. Art Colony, Port Art Sanat Gallery, Ankara, Türkei \u003C/li>\n\u003C/ul>\n\u003Cp>2015\u003C/p>\n\u003Cul>\n \u003Cli>Artist 2015, 25th International Istanbul Art Fair, Türkei\u003C/li>\n \u003Cli>Portakal Cicegi Intl. Art Colony, Turkish Embassy, Berlin, Deutschland \u003C/li>\n \u003Cli>Schulden, BBKL-Triennale 2015, Altes Pfarrhaus, Liechtenstein. \u003C/li>\n \u003Cli>I Killed The Angel Within, Akademililer Art Center, Istanbul, Türkei. \u003C/li>\n\u003C/ul>\n\u003Cp>2014\n\u003C/p>\n\u003Cul>\n \u003Cli>Dunbar, 2nd International Biennial of Contemporary Art of Argentina, Buenos Aires, Argentinien.\u003C/li>\n \u003Cli>Twisted Dreams, Tesvikije Medical Corner, Istanbul, Türkei.\n \n \u003C/li>\n \u003Cli>iZ – Trace, elab, Istanbul, Türkei.\n \n \n \n \n \n \u003C/li>\n \u003Cli>Bridge, Seli Art Project, VINO Steak House, Istanbul, Türkei.\u003C/li>\n\u003C/ul>\n\u003Cp>2013\n\u003C/p>\n\u003Cul>\n \u003Cli>Dialog/ue– Kunstraum Engländerbau, Vaduz, Liechtenstein.\u003C/li>\n \u003Cli>5xgross in (schau)fenstern, Kunstraum Engländerbau, Vaduz, Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>2011\n\u003C/p>\n\u003Cul>\n \u003Cli>Expo 2011, Salle d’exposition, Monaco.\n \n \u003C/li>\n \u003Cli>Carte Blanche BBKL, Kunstmuseum Liechtenstein. \u003C/li>\n \u003Cli>Global Art Projects, Broadway Gallery, New York, USA.\u003C/li>\n\u003C/ul>\n\u003Cp>2008\n\u003C/p>\n\u003Cul>\n \u003Cli>InterArt Greifswald, Pommernhus. Greifswald, Deutschland.\u003C/li>\n\u003C/ul>\n\u003Cp>2006\n\u003C/p>\n\u003Cul>\n \u003Cli>Reto Engare, Wasserhilfe, Benefiz-Kunstauktion, Kunstmuseum Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>2002\n\u003C/p>\n\u003Cul>\n \u003Cli>Lagerhalle Kauf, Trübbach, Schweiz. \u003C/li>\n\u003C/ul>\n\u003Cp>———\n Hiatus ———\u003C/p>\n\u003Cp>1996\n\u003C/p>\n\u003Cul>\n \u003Cli>Ningbo Exhibition Center, Ningbo, China. \u003C/li>\n \u003Cli>höher, weiter, schneller, Art-Installation-Performance, Spörry Fabrik, Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>1995 \u003C/p>\n\u003Cul>\n \u003Cli>San Francisco Art Institute, San Francisco, California, USA.\n \n \u003C/li>\n\u003C/ul>\n\u003Cp>1994 \u003C/p>\n\u003Cul>\n \u003Cli>China Academy of Art, Hangzhou, China.\n \n \u003C/li>\n\u003C/ul>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Artist Residencies\u003C/strong>\u003C/p>\n\n\u003Cp>2015 \u003C/p>\n\u003Cul>\n \u003Cli>Portakal Çiçegi Art Colony, Sapanca, Türkei. \u003C/li>\n\u003C/ul>\n\u003Cp>1996 \u003C/p>\n\u003Cul>\n \u003Cli>Künstlerresidenz in Ningbo, China. Verliehen durch Aterrana-Stiftung, Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>1995 \u003C/p>\n\u003Cul>\n \u003Cli>6 monatige Künstlerresidenz mit Fokus Chinesische Kalligraphie, Landschafts-, Blumen- und Vogelmalerei an der Guangxi Teachers University in Guilin, China. \u003C/li>\n\u003C/ul>\n\u003Cp>1994 \u003C/p>\n\u003Cul>\n \u003Cli>Zertifikatsstudie in Chinesischer Kalligraphie, Landschafts-, Blumen- und Vogelmalerei an der China Academy of Art in Hangzhou, China. \u003C/li>\n\u003C/ul>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Sammlungen\u003C/strong>\u003C/p>\n\n\n\u003Cul>\n \u003Cli>Kulturstiftung Liechtenstein\u003C/li>\n \u003Cli>Amnesty International, New York, USA\u003C/li>\n \u003Cli>Diverse Gemeindeverwaltungen in Liechtenstein\u003C/li>\n \u003Cli>Private Sammlungen\u003C/li>\n\u003C/ul>\n","\u003Cp>Martin Remigius Wohlwend (born 1969) lives and works in Liechtenstein, Switzerland and Istanbul, studied art in the USA, China and Switzerland and teaches painting at the Liechtenstein Art School. Coming from painting, his main interest today is the transformative power of participatory installations and interventions, with which he illuminates imbalances in society and at the same time explores possible solutions.\u003C/p>\n\u003Cp>2014-2021\n \u003Cbr>\n Lecturer at the Liechtenstein School of Art. \u003Cbr/>\n \u003C/p>\n\u003Cp>2017 \u003Cbr>\n Master of Fine Arts in Art in Public Spheres, Lucerne University of Applied Sciences, Switzerland. \u003Cbr/>\n \u003C/p>\n\u003Cp>2012\u003Cbr>\n Project: “300 Years of Liechtenstein Oberland – Tourism, Spa Hotels, Alps.”\n \u003Cbr/>\n \u003C/p>\n\u003Cp>2011-13\u003Cbr>\nMember of the board of the professional association of visual artists in Liechtenstein. visarte.Liechtenstein (BBKL)\u003C/p>\n\u003Cp>2001-03\u003Cbr>\nStudy in spiritual psychology at Landegg International University, Switzerland.\u003C/p>\n\u003Cp>2000-01\n \u003Cbr>\nGraphic Design Course at der University of California, Berkeley, USA. \u003Cbr/>\n \u003C/p>\n\u003Cp>1996-98\n \u003Cbr>\n Multimedia Studies at San Francisco State University, USA.\u003C/p>\n\u003Cp>1996\n \u003Cbr>\n Study in Arts & Consciousness at John F. Kennedy University in Orinda, California, USA.\u003C/p>\n\u003Cp>1995\n \u003Cbr>\nBachelor of Fine Arts in Painting at the San Francisco Art Institute (SFAI), California, USA. \u003C/p>\n\u003Cp>1989-90\u003Cbr>\n Year of Service at the Baha'i World Center in Haifa, Israel. \n \u003Cbr/>\n\u003C/p>\n\u003Cp>1986-89\n \u003Cbr>\n School of Fashion and Design, Floristry, Zurich, Switzerland.\u003Cbr/>\n\u003C/p>\n\u003Cp>1969\n \u003Cbr>\n born in Vaduz, Liechtenstein.\u003C/p>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Solo\u003C/strong>\u003C/p>\n\u003Cp>2022\u003C/p>\n\u003Cul>\n \u003Cli>Neighborhood stage: Installation Schwefel Quartier, Vaduz\u003C/li>\n\u003C/ul>\n\u003Cp>\n2016-2017\n\u003Cul>\n \u003Cli>Turmmatt, looking for new structures, Altdorf, Switzerland.\u003C/li>\n\u003C/ul>\n\u003Cp>2016\n\u003C/p>\n\u003Cul>\n \u003Cli>out of balance, Kunstraum Engländerbau, Vaduz, Liechtenstein.\u003C/li>\n\u003C/ul>\n\u003Cp>2015\n\u003C/p>\n\u003Cul>\n \u003Cli>Trees, Stein Egerta Education Center, Schaan, Liechtenstein.\n \n \n \u003C/li>\n \u003Cli>Artificial teeth, dental practice Dr. Markus Lingg, Liechtenstein.\n \n \u003C/li>\n \u003Cli>Nude – Open Atelier Feat. Special guest Merz.\u003C/li>\n\u003C/ul>\n\u003Cp>2014\n\u003C/p>\n\u003Cul>\n \u003Cli>Life and beyond, practice Dr. Jehle, Vaduz, Liechtenstein.\n \n \n \n \u003C/li>\n \u003Cli>Fragments, Schlösslekeller, Vaduz, Liechtenstein.\n \n \n \n \u003C/li>\n \u003Cli>Among us, Galerie domus, Schaan, Liechtenstein.\n \n \n \u003C/li>\n\u003C/ul>\n\u003Cp>2013 \u003C/p>\n\u003Cul>\n \u003Cli>Sections – Art meets business, Chamber of Commerce Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>2012 \u003C/p>\n\u003Cul>\n \u003Cli>Matter, goal and basis of life? Baha’i Center, Biel, Switzerland. \u003C/li>\n\u003C/ul>\n\u003Cp>2011 \u003C/p>\n\u003Cul>\n \u003Cli>Studio visit #3, Org. Kunstgesellschaft Liechtenstein, Sennwald, Switzerland. \u003C/li>\n\u003C/ul>\n\u003Cp>———\n Hiatus ———\u003C/p>\n\u003Cp>1998 \u003C/p>\n\u003Cul>\n \u003Cli>The Factory, San Francisco, California, USA. \u003C/li>\n\u003C/ul>\n\u003Cp>1997 \u003C/p>\n\u003Cul>\n \u003Cli>Windings, Theater am Kirchplatz, Schaan, Liechtenstein. \u003C/li>\n\u003C/ul>\n\u003Cp>1994 \u003C/p>\n\u003Cul>\n \u003Cli>Casa Alba, Association Artistas de Altea, Altea, Spain.\n \u003Cbr>\n \u003C/li>\n\u003C/ul>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Group Exhibitions\u003C/strong>\u003C/p>\n\u003Cp>2024\u003C/p>\t\n\u003Cul>\n \u003Cli>\u003Ca href=\"https://issuu.com/sfartistsalumni/docs/influx_catalog\" target=\"_blank\" />IN FLUX\u003C/a>: Articles of Belonging, The Museum of Northern California Art, Chico, Kalifornien\u003C/li>\n\u003C/ul>\n\u003Cp>2022\u003C/p>\n\u003Cul>\n \u003Cli>Concept development: Triennale 2024, Visarte Liechtenstein\u003C/li>\n\u003C/ul>\n\u003Cp>2021\u003C/p>\n\u003Cul>\n \u003Cli>Carpet Dialogues, Tiakina | Take Care, Papakura Art Gallery, Auckland, New Zealand.\u003C/li>\n \u003Cli>Cheorwon, KUNST KANN, St. Hippolyt Education Center, St. Pölten, Austria.\u003C/li>\n \u003Cli>Cheorwon, KUNST KANN, Schloss Tirol / Castel Tirolo, Tyrol (BZ), Italy.\u003C/li>\n\u003C/ul>\n\u003Cp>2020\u003C/p>\n\u003Cul>\n\t\u003Cli>out of balance, Tiakina | Take Care, Arthaus Contemporary, Auckland, New Zealand.\u003C/li>\n\t\u003Cli>Home Grown, Gasometer Cultural Center, Triesen, Liechtenstein\u003C/li>\n\t\u003Cli>Cheorwon, KUNST KANN, Haus am Lützowplatz, Berlin, Germany.\u003C/li>\n\t\u003Cli>Cheorwon, KUNST KANN, Kunstraum Engländerbau, Vaduz, Liechtenstein.\u003C/li>\n\u003C/ul>\n\u003Cp>2019 \u003C/p>\n\u003Cul>\n \u003Cli>Cheorwon, Art Politic-Border Crossing ONSAEMIRO, Seoul/Suwon, South Korea.\u003C/li>\n \u003Cli>Cheorwon, Liechtenstein in Bern in Liechtenstein, tram depot Burgernziel, Bern, Switzerland.\u003C/li>\n\u003C/ul>\n\u003Cp>2016\n\u003C/p>\n\u003Cul>\n \u003Cli>Portakal Cicegi Intl. Art Colony, Port Art Sanat Gallery, Ankara, Türkiye\u003C/li>\n\u003C/ul>\n\u003Cp>2015\u003C/p>\n\u003Cul>\n \u003Cli>Artist 2015, 25th International Istanbul Art Fair, Türkiye\u003C/li>\n \u003Cli>Portakal Cicegi Intl. Art Colony, Turkish Embassy, Berlin, Germany\u003C/li>\n \u003Cli>Debts, BBKL Triennale 2015, Old Rectory, Liechtenstein. \u003C/li>\n \u003Cli>I Killed The Angel Within, Akademililer Art Center, Istanbul, Türkiye.\u003C/li>\n\u003C/ul>\n\u003Cp>2014\n\u003C/p>\n\u003Cul>\n \u003Cli>Dunbar, 2nd International Biennial of Contemporary Art of Argentina, Buenos Aires, Argentina.\u003C/li>\n \u003Cli>Twisted Dreams, Tesvikije Medical Corner, Istanbul, Türkiye.\n \n \u003C/li>\n \u003Cli>iZ – Trace, Elab, Istanbul, Türkiye.\n \n \n \n \n \n \u003C/li>\n \u003Cli>Bridge, Seli Art Project, VINO Steak House, Istanbul, Türkiye.\u003C/li>\n\u003C/ul>\n\u003Cp>2013\n\u003C/p>\n\u003Cul>\n \u003Cli>Dialog/ue– Kunstraum Engländerbau, Vaduz, Liechtenstein.\u003C/li>\n \u003Cli>5x large in (show)windows, Kunstraum Engländerbau, Vaduz, Liechtenstein.\u003C/li>\n\u003C/ul>\n\u003Cp>2011\n\u003C/p>\n\u003Cul>\n \u003Cli>Expo 2011, Salle d’exposition, Monaco.\n \n \u003C/li>\n \u003Cli>Carte Blanche BBKL, Liechtenstein Art Museum.\u003C/li>\n \u003Cli>Global Art Projects, Broadway Gallery, New York, USA.\u003C/li>\n\u003C/ul>\n\u003Cp>2008\n\u003C/p>\n\u003Cul>\n \u003Cli>InterArt Greifswald, Pommernhus. Greifswald, Germany.\u003C/li>\n\u003C/ul>\n\u003Cp>2006\n\u003C/p>\n\u003Cul>\n \u003Cli>Reto Engare, water aid, charity art auction, Liechtenstein Art Museum. \u003C/li>\n\u003C/ul>\n\u003Cp>2002\n\u003C/p>\n\u003Cul>\n \u003Cli>Warehouse Kauf, Trübbach, Switzerland.\u003C/li>\n\u003C/ul>\n\u003Cp>———\n Hiatus ———\u003C/p>\n\u003Cp>1996\n\u003C/p>\n\u003Cul>\n \u003Cli>Ningbo Exhibition Center, Ningbo, China. \u003C/li>\n \u003Cli>higher, further, faster, Art-Installation-Performance, Spörry Fabrik, Liechtenstein.\u003C/li>\n\u003C/ul>\n\u003Cp>1995 \u003C/p>\n\u003Cul>\n \u003Cli>San Francisco Art Institute, San Francisco, California, USA.\n \n \u003C/li>\n\u003C/ul>\n\u003Cp>1994 \u003C/p>\n\u003Cul>\n \u003Cli>China Academy of Art, Hangzhou, China.\n \n \u003C/li>\n\u003C/ul>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Artist Residencies\u003C/strong>\u003C/p>\n\n\u003Cp>2015 \u003C/p>\n\u003Cul>\n \u003Cli>Portakal Çiçegi Art Colony, Sapanca, Türkiye. \u003C/li>\n\u003C/ul>\n\u003Cp>1996 \u003C/p>\n\u003Cul>\n \u003Cli>Artist residency in Ningbo, China. Awarded by the Aterrana Foundation, Liechtenstein.\u003C/li>\n\u003C/ul>\n\u003Cp>1995 \u003C/p>\n\u003Cul>\n \u003Cli>6 month artist residency with a focus on Chinese calligraphy, landscape, flower and bird painting at the Guangxi Teachers University in Guilin, China.\u003C/li>\n\u003C/ul>\n\u003Cp>1994 \u003C/p>\n\u003Cul>\n \u003Cli>Certificate study in Chinese calligraphy, landscape, flower and bird painting at the China Academy of Art in Hangzhou, China.\u003C/li>\n\u003C/ul>\n\u003Cp> \u003C/p>\n\u003Cp>\u003Cstrong>Collections\u003C/strong>\u003C/p>\n\n\n\u003Cul>\n \u003Cli>Liechtenstein Cultural Foundation\u003C/li>\n \u003Cli>Amnesty International, New York, USA\u003C/li>\n \u003Cli>Various municipal administrations in Liechtenstein\u003C/li>\n \u003Cli>Private collections\u003C/li>\n\u003C/ul>\n","Wohlwend","Martin Remigius","kleio:record_3b317c9b-5b53-4008-8660-0ad9bd9cd901",{"@id":267,"@score":246,"@type":247,"dc:creator":269,"dc:isPartOf":270,"kleio:category_tags":271,"kleio:cover_asset":274,"kleio:default":6,"kleio:record_owner":59,"kleio:stack_rank":206,"kleio:status_tags":275,"kleio:type_tags":277,"kleio:user_record_id":279,"kleioapi:creator__labels":64,"kleioapi:creator__labels__de":64,"kleioapi:creator__labels__en":64,"kleioapi:in_set":280,"kleioapi:in_space":281,"kleioapi:is_actor":6,"kleioapi:main_date__date":215,"kleioapi:main_date__date__lower":282,"kleioapi:main_date__date__upper":283,"kleioapi:owner_default_space__label":64,"kleioapi:owner_default_space__label__de":64,"kleioapi:owner_default_space__label__en":65,"kleioapi:owner_default_space__label__fr":65,"kleioapi:public":6,"rdfs:label":284,"rdfs:label__de":284,"schema:keywords":285,"schema:title":284,"schema:title__de":284,"threems:relatesTo":247},[243],"kleio:stack_e718f3cc-4ce3-4669-b200-25bf48044bfd",[272,273],"kleio:tag_category_painting","kleio:tag_43f0780d-3e4d-4056-b5a9-ad48fc03a080","kleio:asset_f9611fc3-6c4d-464f-9c11-8ddbb835a01a",[276],"kleio:tag_status_stored",[278],"kleio:tag_type_work",67,[36,186],[25],"2014-01-01","2014-12-31","Abduction",[286,287,288,289],"kleio:tag_content_13470","kleio:tag_content_6520","kleio:tag_content_political","kleio:tag_content_6349","kleio:record_b88ec0fe-ce6c-4b2e-b9be-1ca12be1a517",{"@id":290,"@score":246,"@type":247,"dc:creator":292,"dc:isPartOf":270,"kleio:category_tags":293,"kleio:cover_asset":294,"kleio:default":6,"kleio:record_owner":59,"kleio:stack_rank":181,"kleio:status_tags":295,"kleio:type_tags":296,"kleio:user_record_id":297,"kleioapi:creator__labels":64,"kleioapi:creator__labels__de":64,"kleioapi:creator__labels__en":64,"kleioapi:in_set":298,"kleioapi:in_space":299,"kleioapi:is_actor":6,"kleioapi:main_date__date":215,"kleioapi:main_date__date__lower":282,"kleioapi:main_date__date__upper":283,"kleioapi:owner_default_space__label":64,"kleioapi:owner_default_space__label__de":64,"kleioapi:owner_default_space__label__en":65,"kleioapi:owner_default_space__label__fr":65,"kleioapi:public":6,"rdfs:label":300,"rdfs:label__de":300,"schema:keywords":301,"schema:title":300,"schema:title__de":300,"threems:relatesTo":247},[243],[273,272],"kleio:asset_edc1db8d-4303-41cf-a0ad-6ea387f6e1bb",[276],[278],70,[36,186],[25],"Arsen",[286,287,289,288],"kleio:record_38693",{"@id":302,"@score":246,"@type":247,"dc:creator":304,"kleio:category_tags":305,"kleio:cover_asset":307,"kleio:default":6,"kleio:record_owner":59,"kleio:type_tags":308,"kleio:user_record_id":181,"kleioapi:creator__labels":64,"kleioapi:creator__labels__de":64,"kleioapi:creator__labels__en":64,"kleioapi:in_set":309,"kleioapi:in_space":310,"kleioapi:is_actor":6,"kleioapi:main_date__date":311,"kleioapi:main_date__date__lower":282,"kleioapi:main_date__date__upper":312,"kleioapi:owner_default_space__label":64,"kleioapi:owner_default_space__label__de":64,"kleioapi:owner_default_space__label__en":65,"kleioapi:owner_default_space__label__fr":65,"kleioapi:public":6,"rdfs:label":313,"rdfs:label__de":313,"schema:description":314,"schema:description__de":314,"schema:keywords":315,"schema:title":313,"schema:title__de":313,"threems:relatesTo":247},[243],[306],"kleio:tag_category_installation","kleio:asset_11402aee-e671-4ba1-9ec6-265024b62b0a",[278],[36],[25],"2014/2016","2016-12-31","aus dem Gleichgewicht","Die Installation »aus dem Gleichgewicht« des Liechtensteiner Künstlers Martin R. Wohlwend birgt im Kern drei Komponenten, nämlich eine sinnlich-visuell wahrnehmbare, eine gesellschaftlich-partizipatorische und eine immateriell-geistige, die von Dialogen getragen wird.\n\nMit diesen drei Elementen schafft der Künstler einen Raum, der dafür steht, etwas über die „aus dem Gleichgewicht“ geratene Welt zu erfahren und Beiträge zur Auslotung dieses Ungleichgewichtes zu entwickeln.\n\nDurch das Zusammenwirken und Ineinanderfliessen der Kunst-Installation und den Teppich-Dialogen entsteht ein Labor der „Sozialen Plastik“. Ein neutraler Raum, in dem vorurteilsfrei nach Zukunft schaffenden Verbindungen zwischen Freiheit und Verantwortung – für das Individuum wie auch für die Gemeinschaft – nachgedacht und diskutiert werden kann.\n\nMehr Informationen:\n[https://ausdemgleichgewicht.martinwohlwend.com](https://ausdemgleichgewicht.martinwohlwend.com)",[316,317,318,319],"kleio:tag_content_7901","kleio:tag_content_7899","kleio:tag_content_participatory","kleio:tag_content_7902","kleio:record_b91e00b9-fad2-4334-9bf7-1aeaa8d00a15",{"@id":320,"@score":246,"@type":247,"dc:creator":322,"dc:isPartOf":270,"kleio:category_tags":323,"kleio:cover_asset":324,"kleio:default":6,"kleio:record_owner":59,"kleio:stack_rank":190,"kleio:status_tags":325,"kleio:type_tags":326,"kleio:user_record_id":327,"kleioapi:creator__labels":64,"kleioapi:creator__labels__de":64,"kleioapi:creator__labels__en":64,"kleioapi:in_set":328,"kleioapi:in_space":329,"kleioapi:is_actor":6,"kleioapi:main_date__date":215,"kleioapi:main_date__date__lower":282,"kleioapi:main_date__date__upper":283,"kleioapi:owner_default_space__label":64,"kleioapi:owner_default_space__label__de":64,"kleioapi:owner_default_space__label__en":65,"kleioapi:owner_default_space__label__fr":65,"kleioapi:public":6,"rdfs:label":330,"rdfs:label__de":330,"schema:description":331,"schema:description__de":331,"schema:keywords":332,"schema:title":330,"schema:title__de":330,"threems:relatesTo":247},[243],[273,272],"kleio:asset_afb15659-ec7f-4000-8c9e-c6cec413765c",[276],[278],66,[36,186],[25],"Badi","Badi and his torturers",[289,286,287,288],"kleio:record_230127",{"@id":333,"@score":246,"@type":247,"dc:creator":335,"kleio:category_tags":336,"kleio:cover_asset":337,"kleio:default":6,"kleio:record_owner":59,"kleio:type_tags":338,"kleio:user_record_id":339,"kleioapi:creator__labels":64,"kleioapi:creator__labels__de":64,"kleioapi:creator__labels__en":64,"kleioapi:in_set":340,"kleioapi:in_space":341,"kleioapi:is_actor":6,"kleioapi:main_date__date":342,"kleioapi:main_date__date__lower":343,"kleioapi:main_date__date__upper":344,"kleioapi:owner_default_space__label":64,"kleioapi:owner_default_space__label__de":64,"kleioapi:owner_default_space__label__en":65,"kleioapi:owner_default_space__label__fr":65,"kleioapi:public":6,"rdfs:label":345,"rdfs:label__de":345,"rdfs:label__en":345,"schema:description":346,"schema:description__de":346,"schema:description__en":347,"schema:title":345,"schema:title__de":345,"schema:title__en":345,"threems:relatesTo":247},[243],[306],"kleio:asset_f939d9d2-ef3b-4783-9d85-9424fea0d274",[278],16,[36],[25],"2019/2020","2019-01-01","2020-12-31","Cheorwon","Im April und Oktober 2019 bereiste Martin Remigius Wohlwend mit Nine Dragon Heads, einem internationalen Künstlerkolleg, die DMZ, die demilitarisierte Zone, entlang der Grenze zwischen Nord- und Südkorea. Cheorwon ist ein geografischer Ort, wo sich einer der vielen Stützpunkte Südkoreas befindet. Neben touristisch aufbereiteten Attraktionen wie einem Gedenkort des Friedens und einem Museum der Kraniche gibt es dort zwei von vier berüchtigten Tunneln zu besichtigen. Diese soll der Feind im Norden in den 1970er Jahren gegraben haben, um Südkorea zu infiltrieren. Es entstanden bis zu dreieinhalb Kilometer lange Gänge in über 70 Meter Tiefe.\n\n**Tunnelerlebnis**\n\nAls der Künstler bei seinem ersten Aufenthalt in einen der Tunnel hinabstieg, hielt er sich von der Gruppe zurück, um so die Stimmung des Tunnels auf seinem Mobiltelefon einzufangen. Plötzlich merkte er, wie ein einzelnes Gruppenmitglied, das sich später über Platzangst beklagte, den Weg nach draußen früher als die anderen antrat und alleine auf ihn zukam. Wohlwend hielt inne, filmte die Szene und realisierte in diesem Moment, dass er gerade dieselben Emotionen einfing, welche er kurz zuvor in der Ausstellung von Ed Atkins im Kunsthaus Bregenz/A wahrgenommen hatte. \n\nEin halbes Jahr später befand sich Wohlwend wieder in der DMZ, dieses Mal in einem anderen Tunnel. Er blickte erst in die Richtung der Gruppe, die vor ihm stand. Plötzlich nahm er einen Gesang hinter sich wahr. Er drehte sich um, sah aber niemanden. Geistesgegenwärtig zückte Wohlwend sein Mobiltelefon und drückte auf Aufnahme. Er konnte kaum seinen Augen trauen; er sah dieselbe Situation wie beim ersten Mal: Aus dem Nichts, zwergenklein und ganz weit weg, bewegte sich im schmalen Tunnel eine Person auf ihn zu. Diese hatte sich zuvor von der Gruppe entfernt. Aufgrund der strengen Vorschriften und Anweisungen des Sicherheitspersonals ließen sich diese beiden Szenen nicht inszenieren. Der Zufall hatte es so gewollt. \n\n**Teufelskreis der Traurigkeit** \n\nWohlwend will mit diesem Werk den Umgang mit dem Thema \"Grenzen\" in den Fokus rücken. Ihm geht es um menschengemachte Grenzen, Landesgrenzen. Grenzen werden hochgezogen und kontrolliert. Sie können aber auch minimiert, missachtet, überschritten oder zerstört und überwunden werden. \nVon den Süd- wie Nordkoreaner*innen wird die Grenzziehung als Tragödie empfunden. Diese hat sich als eiternde Wunde in die Volksseele eingraviert. Sie schmerzt, wenn Wohlwend mit den Menschen vor Ort spricht. Er spürt eine Melancholie in ihren Worten, eine Traurigkeit in ihren Gesichtern, ein großes Unverständnis. Die Menschen fühlen sich verloren und ohnmächtig angesichts der von außen eingepflanzten Trennung im Jahr 1953. Antworten auf ihre jahrzehntelangen Fragen finden sie allerdings nicht. Das lässt sie umso frustrierter zurück.\n\nDie beiden Tunnel-Videos Cheorwon spiegeln in abstrakter Weise den endlosen emotionalen Kreislauf wider, in dem sich die Koreaner*innen auf beiden Seiten befinden. Die Tonspur der beiden Videos entspricht dem Originaltrack in den beiden Tunneln, mit der einzigen Ausnahme, dass hin und wieder ein einzelner Ton von einem Tastenanschlag auf das Klavierstück von \"Good Wine\" von Ed Atkins verweist. Der Künstler untersucht damit die Absurdität politischen und sozialen Verhaltens in Bezug auf die DMZ.\n\nQuelle: Ausstellungskatalog Kunst Kann, Einblicke in zeitgenössische künstlerische Haltungen. Dagmar Frick, Marc Wellmann, Franz Moser, Leo Andergassen. gugler GmbH, Melk/A, 2020.","In April and October 2019, Martin Remigius Wohlwend traveled with Nine Dragon Heads, an international artist collective, to the DMZ, the demilitarized zone along the border between North and South Korea. Cheorwon is a geographical location where one of South Korea's many military bases is situated. Besides touristically developed attractions such as a peace memorial site and a crane museum, there are two of the four infamous tunnels to visit. These were allegedly dug by the enemy in the North in the 1970s to infiltrate South Korea. They created tunnels up to three and a half kilometers long at a depth of over 70 meters.\n\n**Tunnel Experience**\n\nWhen the artist descended into one of the tunnels during his first visit, he held back from the group to capture the atmosphere of the tunnel on his mobile phone. Suddenly, he noticed a single group member, who later complained of claustrophobia, starting the way out earlier than the others and coming towards him alone. Wohlwend paused, filmed the scene, and realized at that moment that he was capturing the same emotions he had just experienced in Ed Atkins' exhibition at the Kunsthaus Bregenz/A.\n\nHalf a year later, Wohlwend was again in the DMZ, this time in a different tunnel. He first looked in the direction of the group in front of him. Suddenly, he heard singing behind him. He turned around but saw no one. Wohlwend quickly pulled out his mobile phone and started recording. He could hardly believe his eyes; he saw the same situation as the first time: Out of nowhere, dwarf-sized and far away, a person was moving towards him in the narrow tunnel. This person had previously separated from the group. Due to strict regulations and instructions from security personnel, these two scenes could not be staged. It was a matter of chance.\n\n**Vicious Circle of Sadness**\n\nWith this work, Wohlwend aims to focus on the handling of the topic of \"borders.\" His concern is with man-made borders, national borders. Borders are erected and controlled. However, they can also be minimized, disregarded, crossed, destroyed, and overcome. \nBoth South and North Koreans perceive the border drawing as a tragedy. It has etched itself as a festering wound into the national psyche. It pains when Wohlwend speaks with the locals. He senses melancholy in their words, sadness in their faces, a great misunderstanding. The people feel lost and powerless in the face of the separation imposed from outside in 1953. They do not find answers to their decades-long questions, leaving them even more frustrated.\n\nThe two tunnel videos from Cheorwon abstractly reflect the endless emotional cycle in which Koreans on both sides find themselves. The soundtrack of the two videos corresponds to the original track in the two tunnels, with the only exception being the occasional single note from a keyboard strike on the piano piece \"Good Wine\" by Ed Atkins. The artist thus explores the absurdity of political and social behavior in relation to the DMZ.\n\nSource: Exhibition catalog \"Kunst Kann, Einblicke in zeitgenössische künstlerische Haltungen\" by Dagmar Frick, Marc Wellmann, Franz Moser, Leo Andergassen. gugler GmbH, Melk/A, 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