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	<title>juergenmuenzer</title>
	<link>https://juergenmuenzer.com</link>
	<description>juergenmuenzer</description>
	<pubDate>Sat, 13 Dec 2025 15:02:11 +0000</pubDate>
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		<title>home</title>
				
		<link>https://juergenmuenzer.com/home</link>

		<pubDate>Thu, 02 Dec 2021 15:05:23 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

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		<title>upcoming</title>
				
		<link>https://juergenmuenzer.com/upcoming</link>

		<pubDate>Sun, 16 Mar 2025 16:28:54 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

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		<description>In 2026, my work will continue to focus on and engage with Ukraine. Since 2023, I have been developing artworks that explore the industrial history of western Ukraine—formerly Galicia—under Austro-Hungarian rule. This ongoing body of work encompasses sculpture, collage, and text. In 2025, I collaborated with Daria Lytvynenko on a performance project on the occupation of Crimea, building a fragmented narrative that reflects on the peninsula’s present. Looking ahead to 2026, we plan to develop new performance and sculptural works in public spaces across Ukraine and the EU.









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		<title>about</title>
				
		<link>https://juergenmuenzer.com/about</link>

		<pubDate>Thu, 02 Dec 2021 15:05:23 +0000</pubDate>

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		<title>salty juice of a ripe fig</title>
				
		<link>https://juergenmuenzer.com/salty-juice-of-a-ripe-fig</link>

		<pubDate>Sat, 13 Dec 2025 15:02:11 +0000</pubDate>

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		<description>Salty Juice of a Ripe FigLviv, 2025
Performance and exhibition project combining performance, installation, sound, poetic cinema, and an immersive exhibition.In collaboration Daria Lytvynenko and Jam Factory Art Center, Lviv, Ukraine. Supported by OeAD and Office Ukraine Austria, 2025.
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Author Daria Lytvynenko, in collaboration with Austrian sculptor Jürgen Münzer, works with multimedia forms where the principle of spatial collage combines movement, physical theater, archival images, installation, sound, and poetic cinema. These elements build a fragmented story that aims to provoke the viewer to reflect on the present of the Crimean Peninsula in relation to mainland Ukraine and to grasp its cyclical history.


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Blending absurdity, buffoonery, bizarre sculptures, masks, documentary and fictional characters, the performance explores the historical, cultural, and familial heritage connected to the peninsula. Together with the team, the author turns to both personal and collective identity, distorted by centuries of Russian colonial oppression. Today, this identity exists in a state of search and transformation, reflecting the layers of lived experience.The Black Sea and native places, which carry bodily memory and recollections, simultaneously become a source of physical danger under enemy control, while the loss of direct connection to them turns into a pain that resonates in collective memory.The project investigates how Russian propaganda, together with the romanticized image of Crimea’s southern coast, has turned into a tool for erasure and oblivion of local history.It is a story about home — one that encompasses generations, events, and living beings, a home that now exists only in imagination: fragmented, altered, violated, yet still enduring.

&#60;img width="2130" height="3000" width_o="2130" height_o="3000" data-src="https://freight.cargo.site/t/original/i/3c23bf684768d0611fd3b8175228766e200487e2a462bbc42914e0c5d04eb5f9/Jam_A3_IN.jpg" data-mid="241776541" border="0"  src="https://freight.cargo.site/w/1000/i/3c23bf684768d0611fd3b8175228766e200487e2a462bbc42914e0c5d04eb5f9/Jam_A3_IN.jpg" /&#62;Author, concept, director, text &#38;amp; video: Daria Lytvynenko
 Scenography, object creation &#38;amp; spatial design: Jürgen Münzer Performance &#38;amp; creation: Daria Lytvynenko with Yana Kolodiychuk &#38;amp; Mykola NabokaVideo design &#38;amp; editing: Stefan KrischeSound design &#38;amp; composition: Clemens PooleCostume design &#38;amp; creation: Yulia MakarenkoArtistic &#38;amp; movement consulting: Maria ShurkhalStage design &#38;amp; assistance: Sasha Bezyemska, Polina Zhilina Lighting design: Serhiy KlymetsProject manager: Yevheniia MelkonianProduction manager: Vlad BilonenkoCurator of the project After Devastation: Liuba Ilnytska

Fotos: Malashyna Alona

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		<title>pretenders</title>
				
		<link>https://juergenmuenzer.com/pretenders</link>

		<pubDate>Sat, 18 Oct 2025 09:36:21 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

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		<description>Pretenders with four different haircutsVienna, 2025

	
	
	
	







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A sculptural study of political masquerade, this work examines how public figures adopt interchangeable faces until parody becomes indistinguishable from governance. Made in early 2025, it reflects a climate in which televised spectacle and power play can have immediate consequences for Ukraine, sharpening the piece’s tension between grotesque humor and mortal stakes.


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Fotos: Julia Bertermann</description>
		
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		<title>schwimm city</title>
				
		<link>https://juergenmuenzer.com/schwimm-city</link>

		<pubDate>Sun, 16 Mar 2025 15:35:55 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

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		<description>Schwimm City - a pool for everyone?Mülheim, 2024

	
	
	
	






public intervention, performance in collaboration with conte potuto as part of the Impulse Theater Festival Mülheim an der Ruhr, Germany

Concept: Haiko Pfost, Anna Bründl, Conte PotutoDramaturgy: Anna BründlExecution: Conte PotutoCuration of the artistic and discursive program: Anna Bründl, Conte Potuto participants:

Tigers Kitchen, Damian Rebgetz, AUTOR, African Grassroots Theater, Tacho Tinta, Architects for Future, Silent University Ruhr, Hartmann/Müller, TSC Mülheim, Call Me G and many more local artists, initiatives and associations

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Conte Potuto address the disappearance of public pools through a performative intervention:for the duration of the Impulse Theater Festival, „Schwimm City“ opens in MüGa-Park. As pool operators, Conte Potuto are dedicated to preserving collective spaces for the right to public leisure.
In „Swim City,“ the cherished concept of the public pool is detached from its usual architecture but remains a place of enjoyment, culture, exchange, and relaxation. The culinary and entertain- ment offerings extend into real spaces, while the emerging threat is symbolized by stage sets that subject the pool to a material transformation.
The swimming pool becomes a subject of speculation. What does it mean for a community when public pools close and only facades remain? Where does the fun of swimming relocate when it can no longer be tied to the architectural structure of a public pool? And how can shared enjoyment be conceived as a form of activism, as a response to an impending threat?

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Performers for conte potuto:
Julia Walk, Hannah Todt, Michael Walk, Gabriel Huth, Jürgen Münzer, Peter Schönhardt, Daniel Fonatti Laura Josic, Jonathan Dellago and Artur Schernthaner-Lourdesarmy

Images:
Fritz Enzo Kargl , Impulse Theater Festival / Robin Junicke

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		<title>angelus novus</title>
				
		<link>https://juergenmuenzer.com/angelus-novus</link>

		<pubDate>Tue, 31 Oct 2023 20:57:17 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

		<guid isPermaLink="true">https://juergenmuenzer.com/angelus-novus</guid>

		<description>Angelus NovusFound metal sheets, steel wire, papier-mâché
70 × 55 × 185 cm, Vienna, 2023

	
	
	
	








&#60;img width="6614" height="4480" width_o="6614" height_o="4480" data-src="https://freight.cargo.site/t/original/i/d4ef04e89f6e2f0486a913ff87a66b9b6f19092936cd8d77ad8acea2887692fc/WennmanamTempelvorbeigeht-77.jpg" data-mid="195484461" border="0"  src="https://freight.cargo.site/w/1000/i/d4ef04e89f6e2f0486a913ff87a66b9b6f19092936cd8d77ad8acea2887692fc/WennmanamTempelvorbeigeht-77.jpg" /&#62;“Es gibt ein Bild von Klee, das Angelus Novus heißt. Ein Engel ist darauf dargestellt, der aussieht, als wäre er im Begriff, sich von etwas zu entfernen, worauf er starrt. Seine Augen sind aufgerissen, sein Mund steht offen und seine Flügel sind ausgespannt. Der Engel der Geschichte muß so aussehen. Er hat das Antlitz der Vergangenheit zugewendet. Wo eine Kette von Begebenheiten vor uns erscheint, da sieht er eine einzige Katastrophe, die unablässig Trümmer auf Trümmer häuft und sie ihm vor die Füße schleudert. Er möchte wohl verweilen, die Toten wecken und das Zerschlagene zusammenfügen. Aber ein Sturm weht vom Paradiese her, der sich in seinen Flügeln verfangen hat und so stark ist, daß der Engel sie nicht mehr schließen kann. Dieser Sturm treibt ihn unaufhaltsam in die Zukunft, der er den Rücken kehrt, während der Trümmerhaufen vor ihm zum Himmel wächst. Das, was wir den Fortschritt nennen, ist dieser Sturm.“

Walter Benjamin, Über den Begriff der Geschichte, 1940 

&#60;img width="1972" height="3000" width_o="1972" height_o="3000" data-src="https://freight.cargo.site/t/original/i/857d672892de39296cc332504c9444d20d13bd257e7b8e7a0b48681fe8dff2a5/WennmanamTempelvorbeigeht-69.jpg" data-mid="195484450" border="0"  src="https://freight.cargo.site/w/1000/i/857d672892de39296cc332504c9444d20d13bd257e7b8e7a0b48681fe8dff2a5/WennmanamTempelvorbeigeht-69.jpg" /&#62;
Excerps from the booklet:

&#60;img width="1417" height="1004" width_o="1417" height_o="1004" data-src="https://freight.cargo.site/t/original/i/239eddea599c308d0ce6625f3815703bedef6cf806827deec19c0b88554d3d47/Booklet2.jpg" data-mid="195485194" border="0"  src="https://freight.cargo.site/w/1000/i/239eddea599c308d0ce6625f3815703bedef6cf806827deec19c0b88554d3d47/Booklet2.jpg" /&#62;
&#60;img width="6311" height="4480" width_o="6311" height_o="4480" data-src="https://freight.cargo.site/t/original/i/af65a4ac681dccb6e94448aa7f84144b1456fb3a674d06ba900ee3612781b2e3/WennmanamTempelvorbeigeht-83.jpg" data-mid="195484522" border="0"  src="https://freight.cargo.site/w/1000/i/af65a4ac681dccb6e94448aa7f84144b1456fb3a674d06ba900ee3612781b2e3/WennmanamTempelvorbeigeht-83.jpg" /&#62;
&#60;img width="1417" height="1004" width_o="1417" height_o="1004" data-src="https://freight.cargo.site/t/original/i/296d2a16cdd9ccccf7b28bca2cd5e78e873118533f023d5e6d36988d43066ac0/Booklet3.jpg" data-mid="195485195" border="0"  src="https://freight.cargo.site/w/1000/i/296d2a16cdd9ccccf7b28bca2cd5e78e873118533f023d5e6d36988d43066ac0/Booklet3.jpg" /&#62;



Fotos: Paul Schütz

</description>
		
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	<item>
		<title>the owl</title>
				
		<link>https://juergenmuenzer.com/the-owl</link>

		<pubDate>Tue, 31 Oct 2023 21:17:29 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

		<guid isPermaLink="true">https://juergenmuenzer.com/the-owl</guid>

		<description>the owlvienna, 2023





collage in the back
history was written by losers
paris, 2022





&#60;img width="3000" height="2156" width_o="3000" height_o="2156" data-src="https://freight.cargo.site/t/original/i/4095db12e37431a40c4fa3889b9d33679538a7a52fc20197a9dc24371bfb2526/WennmanamTempelvorbeigeht-60.jpg" data-mid="195486205" border="0"  src="https://freight.cargo.site/w/1000/i/4095db12e37431a40c4fa3889b9d33679538a7a52fc20197a9dc24371bfb2526/WennmanamTempelvorbeigeht-60.jpg" /&#62;
&#60;img width="3000" height="2191" width_o="3000" height_o="2191" data-src="https://freight.cargo.site/t/original/i/c401af09b4fd7a124ab80c0a7f7522e437fa2a9bda97aedd7db59e412ed64b59/WennmanamTempelvorbeigeht-41.jpg" data-mid="195486203" border="0"  src="https://freight.cargo.site/w/1000/i/c401af09b4fd7a124ab80c0a7f7522e437fa2a9bda97aedd7db59e412ed64b59/WennmanamTempelvorbeigeht-41.jpg" /&#62;
Drawing from my journeys to Ukraine over the past two years, I've 
woven together an array of materials, narratives, and concepts into this
 sculpture. The creative process was particularly influenced by a 
thought-provoking passage from David Graeber and David Wengrow, which 
explores the intricate relationship between property and social power:

“If Kim Kardashian walks down the street in Paris wearing a diamond necklace worth millions of dollars, she is not only showing off her wealth, she is also flaunting her power over violence, since everyone assumes she would not be able to do so without the existence, visible or not, of an armed personal security detail, trained to deal with potential thieves. Property rights of all sorts are ultimately backed up by what legal theorists like von Ihering euphemistically called ‘force’. But let us imagine, for a moment, what would happen if everyone on earth were suddenly to become physically invulnerable. Say they all drank a potion which made it impossible for anyone to harm anyone else. Could Kim Kardashian still maintain exclusive rights over her jewellery?



Well, perhaps not if she showed it off too regularly, since someone would presumably snatch it; but she certainly could if she normally kept it hidden in a safe, the combination of which she alone knew and only revealed to trusted audiences at events which were not announced in advance. So there is a second way of ensuring that one has access to rights others do not have: the control of information. Only Kim and her closest confidants know where the diamonds are normally kept, or when she is likely to appear wearing them. This obviously applies to all forms of property that are ultimately backed up by the ‘threat of force’ – landed property, wares in stores, and so forth. If humans were incapable of hurting each other, no one would be able to declare something absolutely sacred to themselves or to defend it against ‘all the world’. They could only exclude those who agreed to be excluded.



Still, let us take the experiment a step further and imagine everyone on earth drank another potion which rendered them all incapable of keeping a secret, but still unable to harm one another physically as well. Access to information, as well as force, has now been equalized. Can Kim still keep her diamonds? Possibly. But only if she manages to convince absolutely everyone that, being Kim Kardashian, she is such a unique and extraordinary human being that she actually deserves to have things no one else can.



We would like to suggest that these three principles – call them control of violence, control of information, and individual charisma – are also the three possible bases of social power. The threat of violence tends to be the most dependable, which is why it has become the basis for uniform systems of law everywhere; charisma tends to be the most ephemeral. Usually, all three coexist to some degree. Even in societies where interpersonal violence is rare, one may well find hierarchies based on knowledge. It doesn’t even particularly matter what that knowledge is about: maybe some sort of technical know-how (say, of smelting copper, or using herbal medicines); or maybe something we consider total mumbo jumbo (the names of the twenty-seven hells and thirty-nine heavens, and what creatures one would be likely to meet if one travelled there).”


Text excerpt from “The dawn of everything. A new history of humanity”, David Graeber, David Wengrow, 2021


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	<item>
		<title>windschiefigkeiten</title>
				
		<link>https://juergenmuenzer.com/windschiefigkeiten</link>

		<pubDate>Thu, 09 Dec 2021 13:29:32 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

		<guid isPermaLink="true">https://juergenmuenzer.com/windschiefigkeiten</guid>

		<description>Windschiefe WahrscheinlichkeitenKlagenfurt, 2020

zu den Verzerrungen in der Geschichtsschreibung
The starting point for the work “Windschiefe Wahrscheinlichkeiten (Crooked Probabilities)” is my preoccupation with the historiography of border demarcations and cultural overlaps in Carinthia/Koroška. Conversations with people from my immediate surroundings, whose ideas and opinions have been incorporated into the formal decision-making processes of the objects that have grown up, were important to me. The works not only give an idea of what was going on inside me while I was building the objects, they also show an associative history of a shared consciousness at a certain time.

&#60;img width="6276" height="4702" width_o="6276" height_o="4702" data-src="https://freight.cargo.site/t/original/i/9f8454dae22ccd57e2b210052409cfd68760b6db7ba869b31c90e77519fce349/20201007studioJurgenMunzer22562-Kopie.jpg" data-mid="126945935" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/9f8454dae22ccd57e2b210052409cfd68760b6db7ba869b31c90e77519fce349/20201007studioJurgenMunzer22562-Kopie.jpg" /&#62;
lined up from left to right: the post box, the aquarium, the certificate, the armchair, the table, the bones of your thoughts, the disc chest


&#60;img width="1660" height="1434" width_o="1660" height_o="1434" data-src="https://freight.cargo.site/t/original/i/d2546fb9bcbc3507cc417bf3077103538a43c70cf1a25c5db13f06469df33753/20201007studioJrgenMnzer22465.jpg" data-mid="151676336" border="0"  src="https://freight.cargo.site/w/1000/i/d2546fb9bcbc3507cc417bf3077103538a43c70cf1a25c5db13f06469df33753/20201007studioJrgenMnzer22465.jpg" /&#62;
&#60;img width="2246" height="1682" width_o="2246" height_o="1682" data-src="https://freight.cargo.site/t/original/i/5180002186d24d4d36d7c3660c71d23b45f3cacf610a2abb152bb335c567a66b/20201007studioJrgenMnzer22458.jpg" data-mid="126952508" border="0"  src="https://freight.cargo.site/w/1000/i/5180002186d24d4d36d7c3660c71d23b45f3cacf610a2abb152bb335c567a66b/20201007studioJrgenMnzer22458.jpg" /&#62;
&#60;img width="638" height="827" width_o="638" height_o="827" data-src="https://freight.cargo.site/t/original/i/79f83ae8490d47df3310a903038b3c786cd0c2dd459926049b5124d49821fc68/20201007studioJrgenMnzer22446.jpg" data-mid="126952529" border="0"  src="https://freight.cargo.site/w/638/i/79f83ae8490d47df3310a903038b3c786cd0c2dd459926049b5124d49821fc68/20201007studioJrgenMnzer22446.jpg" /&#62;
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&#60;img width="1043" height="1429" width_o="1043" height_o="1429" data-src="https://freight.cargo.site/t/original/i/80ee2c7764201b4df8afc7cd0d5add52e6cec5e717da17fc615583534ba680b6/20201007studioJrgenMnzer22453.jpg" data-mid="126952506" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/80ee2c7764201b4df8afc7cd0d5add52e6cec5e717da17fc615583534ba680b6/20201007studioJrgenMnzer22453.jpg" /&#62;
&#60;img width="2246" height="1682" width_o="2246" height_o="1682" data-src="https://freight.cargo.site/t/original/i/ed8be41a39ac3c4f11ad06bf5e264a5f9ad898776e5629ff8a24ad0ec568c39d/20201007studioJrgenMnzer22485.jpg" data-mid="126952517" border="0" data-scale="53" src="https://freight.cargo.site/w/1000/i/ed8be41a39ac3c4f11ad06bf5e264a5f9ad898776e5629ff8a24ad0ec568c39d/20201007studioJrgenMnzer22485.jpg" /&#62;
&#60;img width="744" height="1050" width_o="744" height_o="1050" data-src="https://freight.cargo.site/t/original/i/4355e26c9d48e933cb827e7d508ffebd3dec425c6da7a55834ffb7c0bf9556ce/vilana.jpg" data-mid="151676256" border="0"  src="https://freight.cargo.site/w/744/i/4355e26c9d48e933cb827e7d508ffebd3dec425c6da7a55834ffb7c0bf9556ce/vilana.jpg" /&#62;
&#60;img width="428" height="589" width_o="428" height_o="589" data-src="https://freight.cargo.site/t/original/i/21d99ae95271ef97b0a8fe812c51d84e6c2cdbdfc14776755b703c68c940e34c/20201007studioJrgenMnzer22449.jpg" data-mid="126952532" border="0"  src="https://freight.cargo.site/w/428/i/21d99ae95271ef97b0a8fe812c51d84e6c2cdbdfc14776755b703c68c940e34c/20201007studioJrgenMnzer22449.jpg" /&#62;
&#60;img width="726" height="940" width_o="726" height_o="940" data-src="https://freight.cargo.site/t/original/i/220e2d165e9d492c32a184ee73b6152ad69d3c3ceaa32a71c04419038f044208/20201007studioJrgenMnzer22448.jpg" data-mid="126952530" border="0"  src="https://freight.cargo.site/w/726/i/220e2d165e9d492c32a184ee73b6152ad69d3c3ceaa32a71c04419038f044208/20201007studioJrgenMnzer22448.jpg" /&#62;




Fotos: Paul Schütz</description>
		
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		<title>turning points</title>
				
		<link>https://juergenmuenzer.com/turning-points</link>

		<pubDate>Sun, 15 Dec 2024 15:41:18 +0000</pubDate>

		<dc:creator>juergenmuenzer</dc:creator>

		<guid isPermaLink="true">https://juergenmuenzer.com/turning-points</guid>

		<description>Turning PointsRe:publica Berlin, 2024
The project reflects on the role and responsibility of artists in contemporary art production and attempts to initiate perspective-rich viewpoints in current democratic discourses in art and cultural spheres. It includes an immersive virtual space featuring the short film “Due to a burning wave” by Ukrainian artist Daria Lytvynenko, alongside a to-scale 3D model of the explosion in the port of Beirut (freely provided by Forensic Architecture). The project incorporates a work that reflects on the ongoing genocide and humanitarian crisis in Gaza, providing a critical perspective on this current war. The works contained in the mobile evolved from experiences gained during a community development project in Lebanon in 2022, in which the contributing artists were involved. Through these diverse elements, the project aims to engage viewers with multiple global issues and their interconnections.&#60;img width="3842" height="2161" width_o="3842" height_o="2161" data-src="https://freight.cargo.site/t/original/i/4a6ece0320252605f3ecacf84f82854f6082c7e35d752ca212ad1535ed062c73/mobile-0.jpg" data-mid="223382954" border="0"  src="https://freight.cargo.site/w/1000/i/4a6ece0320252605f3ecacf84f82854f6082c7e35d752ca212ad1535ed062c73/mobile-0.jpg" /&#62;
&#60;img width="3472" height="1953" width_o="3472" height_o="1953" data-src="https://freight.cargo.site/t/original/i/5dcb41c229a2294c986cdfb798606a6b277f735548d814af353f2cd5803d7738/mobile-1.jpg" data-mid="223382955" border="0"  src="https://freight.cargo.site/w/1000/i/5dcb41c229a2294c986cdfb798606a6b277f735548d814af353f2cd5803d7738/mobile-1.jpg" /&#62;&#60;img width="4480" height="2520" width_o="4480" height_o="2520" data-src="https://freight.cargo.site/t/original/i/e6bb1265e62643508e570b6b51475a182f03cfb4b329e9d60ccc5a78bbee27cb/mobile-4.jpg" data-mid="223382958" border="0"  src="https://freight.cargo.site/w/1000/i/e6bb1265e62643508e570b6b51475a182f03cfb4b329e9d60ccc5a78bbee27cb/mobile-4.jpg" /&#62;&#60;img width="4480" height="2520" width_o="4480" height_o="2520" data-src="https://freight.cargo.site/t/original/i/6b5d1beef9ed0c2401b2fa9fb37e80728e784b817dadde5c30fa057c1b09ce33/mobile-7.jpg" data-mid="223382961" border="0"  src="https://freight.cargo.site/w/1000/i/6b5d1beef9ed0c2401b2fa9fb37e80728e784b817dadde5c30fa057c1b09ce33/mobile-7.jpg" /&#62;&#60;img width="4480" height="2520" width_o="4480" height_o="2520" data-src="https://freight.cargo.site/t/original/i/4ea6ce3333880547128fbdea9e87ef41d4d38d45c174df76c583f13ff8ddf196/mobile-5.jpg" data-mid="223382959" border="0"  src="https://freight.cargo.site/w/1000/i/4ea6ce3333880547128fbdea9e87ef41d4d38d45c174df76c583f13ff8ddf196/mobile-5.jpg" /&#62;&#60;img width="4480" height="2520" width_o="4480" height_o="2520" data-src="https://freight.cargo.site/t/original/i/5d4e50d023404145a144ecd81dc64a5d8ae9d9b2d16af7c18a602f956bd31866/mobile-3.jpg" data-mid="223382957" border="0"  src="https://freight.cargo.site/w/1000/i/5d4e50d023404145a144ecd81dc64a5d8ae9d9b2d16af7c18a602f956bd31866/mobile-3.jpg" /&#62;&#60;img width="4480" height="2520" width_o="4480" height_o="2520" data-src="https://freight.cargo.site/t/original/i/1c28ca19850a3f724c5606fc35ef159a5789563bda3cc4593851d5bfcde5668a/mobile-2.jpg" data-mid="223382956" border="0"  src="https://freight.cargo.site/w/1000/i/1c28ca19850a3f724c5606fc35ef159a5789563bda3cc4593851d5bfcde5668a/mobile-2.jpg" /&#62;&#60;img width="4480" height="2520" width_o="4480" height_o="2520" data-src="https://freight.cargo.site/t/original/i/d317a7aee14640075a367875550f7d9f5399167ce8ad96a5da0c391c94f8bbea/mobile-8.jpg" data-mid="223382962" border="0"  src="https://freight.cargo.site/w/1000/i/d317a7aee14640075a367875550f7d9f5399167ce8ad96a5da0c391c94f8bbea/mobile-8.jpg" /&#62;




Fotos: Paul Schütz

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