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<rdf:RDF xmlns:schema="https://schema.org/" xmlns:rdf="https://www.w3.org/1999/02/22-rdf-syntax-ns#"><schema:ItemList><schema:numberOfItems>2</schema:numberOfItems><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/9619/full</schema:image><schema:name>Landscape - Marriage of Heaven and Earth</schema:name><schema:dateCreated>1961-1964</schema:dateCreated><schema:creator>[Friedrich Kiesler]</schema:creator><schema:creator>Friedrich Kiesler</schema:creator><schema:artMedium>Bronze</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/10374/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/125934/full</schema:image><schema:name>Old Figure</schema:name><schema:dateCreated>1960–1963</schema:dateCreated><schema:creator>[Walter Pichler]</schema:creator><schema:creator>Walter Pichler</schema:creator><schema:artMedium>Wood, Tin, Copper, Mattresses, Sheet</schema:artMedium><schema:description>
A key protagonist of the postwar avant-garde, Walter Pichler is regarded as a radical visionary. In the 1960s, he develops utopian projects straddling the lines between architecture, design, and sculpture. For “Old Figure,” he sets an upright metal object on the head end of a bed made of layered mattresses. Beds, cots, and stretchers figure in many of the artist’s works as grim emblems of frailty, illness, and death, attesting to his deeply felt awareness of the finitude of human—and ultimately, his own—existence. Hence the central role of the fusion of life and art in Pichler’s oeuvre: this installation originally had its place right next to his own bed.</schema:description><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85414/rdf</schema:url></schema:VisualArtwork></schema:itemListElement></schema:ItemList></rdf:RDF>