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	<title>juergenmuenzer</title>
	<link>https://juergenmuenzer.com</link>
	<description>juergenmuenzer</description>
	<pubDate>Tue, 08 Sep 2026 08:27:33 +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>

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

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		<title>фонтан / fountain</title>
				
		<link>https://juergenmuenzer.com/FONTAN-fountain</link>

		<pubDate>Sun, 06 Sep 2026 21:49:48 +0000</pubDate>

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

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		<description>фонтан / fountainin collaboration with Anna Taradina
Kyiv, 2026&#60;img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/75b773ebdbbc5c5951044a04e81df4577abd97e4ebe1b34e67a5e38ef822f86e/f1_JuergenMuenzerAnnaTaradina.jpg" data-mid="251886275" border="0"  src="https://freight.cargo.site/w/1000/i/75b773ebdbbc5c5951044a04e81df4577abd97e4ebe1b34e67a5e38ef822f86e/f1_JuergenMuenzerAnnaTaradina.jpg" /&#62;The starting point for our project was an abandoned buvet, a spot beneath which the Kudryavets stream flows. While exploring the city space around Kudryavka, we had noticed structures that once had a specific purpose but over time lost their function, remaining simply as part of the urban landscape.


Our sculpture grew out of a concrete element found nearby among structures intended to restrict parking. Once we moved it to the studio, this object gradually transformed into an imaginary fountain, an image of water that is no longer there but continues to define this place.


The work prompts reflection on urban space as an environment of constant change, on Kyiv's hidden water resources, on neglected buvets, and on objects that have outlived their original purpose. At the same time, it is a gesture of return, in which an element taken from the city acquires new qualities in order to once again become part of it.


For the exhibition, we placed the sculpture in the garden of Kuznia Gallery in Kyiv.



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The project was made possible with Spiegelhand Residenzen organised by Paul Maciejowski and support of Nahirna22, Kunststiftung NRW, Kulturamt Düsseldorf, Culture Moves Europe, the Ministry of Culture and Sciences North-Rhine-Westfalia and Goethe Institut Ukraine.

Photos: Anna Taradina</description>
		
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		<title>sirens</title>
				
		<link>https://juergenmuenzer.com/sirens</link>

		<pubDate>Sun, 06 Sep 2026 22:10:36 +0000</pubDate>

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		<description>SirensКиїв/Wachtberg, 2026

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&#60;img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/aab9e1f022bc1e4b17a5ca79c3fc4198d1661f61e8a41f235d066fa476f8afab/osaka_20260830_014.jpg" data-mid="251886438" border="0"  src="https://freight.cargo.site/w/1000/i/aab9e1f022bc1e4b17a5ca79c3fc4198d1661f61e8a41f235d066fa476f8afab/osaka_20260830_014.jpg" /&#62;&#60;img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/5033e928490515e93c91a9295f55dc332b089e243a36e9bab823fc3d59082892/osaka_20260830_012.jpg" data-mid="251886443" border="0"  src="https://freight.cargo.site/w/1000/i/5033e928490515e93c91a9295f55dc332b089e243a36e9bab823fc3d59082892/osaka_20260830_012.jpg" /&#62;Die Stadt wird heute zur Kathedrale, der Himmel heute zur Hoffnung. Die Orgel- und Chorgesänge schweben durch Kyjiw, erhaben wird der Raum, in dem ich mich befinde. Gebt Himars, gebt Patriot, close the sky over Ukraine. Die Musik triggert Tränen. Der Krieg ist die absolute Unterdrückung von Gefühlen und das Nach-hinten-drücken verhindert, dass man auseinanderfällt.

Von meinen Notizen zur Zerstörung der Stadt, Kyjiw 2026
Meine Sirenen-Skulptur aus unserer Performance „So Quiet“ steht nun dauerhaft auf dem Gelände des Wachtbergs als Erinnerung an unsere Performance und an die anhaltenden russischen Angriffe auf Kyjiw, die wir in den letzten Monaten miterlebt haben.


In Kyjiw wurde mir bewusst, was die Stadt für unser Verhältnis zur Welt bedeuten kann. Die russischen Städtezerstörer schrecken vor nichts zurück, Wohnhäuser, Schulen und zivile Infrastruktur sind allesamt Ziele in ihrem Unterwerfungskrieg gegen die Ukraine. Bogdan Bogdanović hat das den Mord an der Stadt genannt. Denn die Stadt ist Trägerin der Kultur, und genau deshalb soll sie ausgelöscht werden. Sie ist unser Instrumentarium zum Verständnis von Welt, sie hilft uns, uns als Städter und Individuen zu verorten, und sie wirft die Fragen auf: Wo stehen wir? Was passiert hier? Wer sind wir? Sie hilft uns dabei, eine Stimme zu finden.


Die Idee für den Wachtberg war, ein Stück Stadt in die österreichische Landschaft zu übertragen: die Sirene, die in Kyjiw täglich über allem liegt. Meinen Sirenen wurde die Stimme genommen. Es bleibt ein symbolischer Alarm zwischen Himmel, Wald und Erde, der hier nicht nur vor dem russischen Angriffskrieg warnt, sondern auch vor dem, was der Natur selbst geschieht.


Photos: Sascha Osaka


The project was made possible in the frame of the 33rd Sculpture Symposium "Kunst in der Natur" on the Wachtberg in Gars am Kamp, Austria.</description>
		
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		<title>so quiet</title>
				
		<link>https://juergenmuenzer.com/so-quiet</link>

		<pubDate>Tue, 08 Sep 2026 08:27:33 +0000</pubDate>

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		<description>So QuietWachtberg, 2026
&#60;img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/ac64f9038ecb307fd235ce5878dfc5c031d98ac428d9f2822950f4ddd193a056/osaka_20260829_132.jpg" data-mid="251941065" border="0"  src="https://freight.cargo.site/w/1000/i/ac64f9038ecb307fd235ce5878dfc5c031d98ac428d9f2822950f4ddd193a056/osaka_20260829_132.jpg" /&#62;In the project So Quiet, Daria Lytvynenko and Jürgen Münzer question the peacefulness of the Austrian landscape - a quiet place, while in Kyiv the sirens run non-stop, 24/7. Here, the war in Ukraine feels distant, even as the actual distance is smaller than one might think. Into this landscape, a car drives, a siren mounted on its roof, breaking in with disturbing noises and an uneasy story. At times it drowns out the passenger's voice; at other times, it supports her actions. Both the performer and the car - out of place - vibrate, grow louder. Which is more dangerous: being loud, or pretending there is no danger here?&#60;img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/dd1b7c39585f30ce85c9e9a82680f9cb3dab1efc1fb462868f7f65c53954676a/osaka_20260829_064.jpg" data-mid="251940794" border="0"  src="https://freight.cargo.site/w/1000/i/dd1b7c39585f30ce85c9e9a82680f9cb3dab1efc1fb462868f7f65c53954676a/osaka_20260829_064.jpg" /&#62;

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Performance: Daria LytvynenkoSound: Sebastian LeopoldObjects/Costume: Jürgen MünzerCuration and Car driver: Gabriel GrafPhotos: Sascha Osaka

The project was made possible in the frame of the 33rd Sculpture Symposium "Kunst in der Natur" on the Wachtberg in Gars am Kamp, Austria.</description>
		
	</item>
		
		
	<item>
		<title>dissonance heritage</title>
				
		<link>https://juergenmuenzer.com/dissonance-heritage</link>

		<pubDate>Mon, 07 Sep 2026 11:47:42 +0000</pubDate>

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

		<guid isPermaLink="true">https://juergenmuenzer.com/dissonance-heritage</guid>

		<description>Dissonance HeritageKyiv/Vienna, 2026Ongoing project containing performances, exhibitions, art in public space and workshops&#38;nbsp;
In collaboration with Daria Lytvynenko, the residency program “You are missing here” by Dariia Kuzmych, Maria Shurkhal, Clemens Poole and the Kyiv based collective CTO. 
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3bd28d91b6439505022fe80e0040358b4bf2eeac833f2ff39565bd460ee3260c/_dsc1438_55447377875_o_kl.jpg" data-mid="251897898" border="0"  src="https://freight.cargo.site/w/1000/i/3bd28d91b6439505022fe80e0040358b4bf2eeac833f2ff39565bd460ee3260c/_dsc1438_55447377875_o_kl.jpg" /&#62;When you walk through Vienna, you might find yourself in a square with an obelisk — a monument to the Soviet soldier, known among locals as the Russendenkmal (Monument to the Russians). In the Meidling district, there is also a commemorative plaque on the facade of a building where Joseph Stalin stayed during one of his brief visits. These monuments are directly tied to the so-called liberation of Austria from Nazism by Soviet forces. They are enshrined in the 1955 State Treaty, which still legally obliges the city to maintain them.
Daria Lyvynenko, Maria Shurkhal and Jürgen Münzer engage with the practices of decommunisation and spontaneous memorialisation in Kyiv's public space, building a dialogue between these different contexts — Vienna and Kyiv — and the contradictions of both preserving and rewriting the meanings of specific monuments from the past. Within the residency "You Are Missing Here", artists delve deeper into the local context of memorialisation and, through sculpture, video and performative interventions, develop counter-narrative artistic forms that open up space to uncover and reflect on the role of Soviet heritage in Western Europe and Ukraine. In Jürgen's words, to trace the origins of how Soviet symbolism was formed and embedded, and the living experience of dealing with it, to open a dialogue around the Heldendenkmal in Vienna.


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Text and poster by Dariia Kuzmych
Photos: Polina Polikarpova

Performative workshop
Within the framework of the project, a two-day performative workshop was held on June 6 and 7, led by Daria Lytvynenko, as part of the @youaremissinghere residency.

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Together with the participants, Lytvynenko looked for comfortable and uncomfortable places, in the body, in space, in one's relationship to personal experience. Participants shared personal stories, reflected, and moved in the public space. Attention was paid to where tension and pain build up, and to working with that; finding these states and letting them go. Conversations turned to where we come from and where we're heading, to social and private existence. Moments were archived and notes taken, to have something to return to and continue the practice further.
Photos: Olena Brodzynska
Workshop What we carry ahead

As part of the educational program "Lab 207. Open Studio," Jürgen Münzer led a workshop for creating cardboard head pieces.

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&#60;img width="3072" height="4080" width_o="3072" height_o="4080" data-src="https://freight.cargo.site/t/original/i/a3d193c5292f6bcf2f2982ea579f81a8a246846c64e6b58194494e1f3fa03903/PXL_20260722_150221134.jpg" data-mid="251901793" border="0"  src="https://freight.cargo.site/w/1000/i/a3d193c5292f6bcf2f2982ea579f81a8a246846c64e6b58194494e1f3fa03903/PXL_20260722_150221134.jpg" /&#62;
A headpiece is an unstable thing. It has to be carried on the head, and finding balance while wearing it is funny part of the work. The object decides how we move before we do.While building, we pose some questions to ourselves: What are we carrying around with us? How do we carry it? Or is it the other way — does the thing carry us or are we carried by it? We can also think about what the object shows and hides from our body, from our face. How does it interact with our movement when walking, turning, holding still?The works were presented in the exhibition Place of Action”at Imagine Point Gallery Kyiv organised by LAB 207, Spiegelhand Residenzen, the NGO Nahirna22 and supported by the Goethe-Institut Ukraine.Photos: courtesy by the artistsThis project is supported by the Austrian Federal Ministry for Arts and Culture, OeAD and Ukraine Office Austria.</description>
		
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	<item>
		<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>

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

		<guid isPermaLink="true">https://juergenmuenzer.com/salty-juice-of-a-ripe-fig</guid>

		<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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&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/9be0764d0e22efeac8307ef81d0a95c3a0ca69fbdf8b24532ad6e2ba5db2c46a/20251004_192757_969A9046_Malashyna_Alona.jpg" data-mid="241776958" border="0"  src="https://freight.cargo.site/w/1000/i/9be0764d0e22efeac8307ef81d0a95c3a0ca69fbdf8b24532ad6e2ba5db2c46a/20251004_192757_969A9046_Malashyna_Alona.jpg" /&#62;

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

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

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

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

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

		<description>Pretenders with four different haircutsVienna, 2025

	
	
	
	







&#60;img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/2d332b93890e8825ef8b792faac9884bba0e76bad5970900204da76bbc1f4390/DSC09699.jpg" data-mid="239520723" border="0"  src="https://freight.cargo.site/w/1000/i/2d332b93890e8825ef8b792faac9884bba0e76bad5970900204da76bbc1f4390/DSC09699.jpg" /&#62;
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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>

		<guid isPermaLink="true">https://juergenmuenzer.com/schwimm-city</guid>

		<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
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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
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

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

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