The enchanted mountain: permanent and annual exhibition
Man's encounter with the mountains
As the centerpiece of the Messner Mountain Museum, MMM Firmian in Sigmundskron Castle near Bozen addresses the subject of man’s encounter with the mountains. In a setting dominated by the various peaks between the Schlern and the Texel range, the museum is spacious enough to be organized as an itinerary between the various works of art, installations and relics that it houses. The paths, stairs and towers lead visitors from the depths of the mountain, where their origins and exploitation are brought to life, and the religious significance of the peaks as an aid to orientation and a bridge to the beyond, to the history of mountaineering and the alpine tourist industry that we know today.
Annual exhibition 2020-2021
GROWING MOUNTAINS MASUYAMA
I met Hiroyuki Masuyama at the end of the 1990s in Germany, at Art Cologne – one of the most important international fairs at one time – where I was taking part with my gallery. On that occasion, the Academy of Fine Arts was presenting some works by students in their final year. One in particular caught my attention: it was the work of a young man in his early twenties, Hiroyuki Masuyama.
I was immediately fascinated: from a strictly conceptual point of view, in that period he was already working on the contraction of space/time, exploiting a very unusual use of photography, which was not digital at the time. Due to his refined and complex artistic technique and to a deep and coherent poetic sense, his works were a perfect synthesis of protracted manual work accompanied by refined thinking.
His care, his attention to the evolution of digital technology and its clever use have allowed this artist to further develop what I had at first sight grasped as the spark of a special intuition.
From a certain point of view, his work disorientates, sometimes you feel that you recognize a place. Evenly set out by a precise temporal rhythm, the photographic shots follow on, one after the next, to produce a work that, at a first, quick glance, is wrongly perceived as a photograph. In reality, it is an image that we can see at a glance only because of Masuyama’s creativity, because while it appears not to exist in reality, it is nonetheless composed of fragments of real photography.
And so here lies the disorientation: a time-span lasting a day and a space occupying several kilometres is all here. Is it all real or is it trickery? I think it is both things together…
Hélène de Franchis
Studio la Città
On the mountain, I never took two steps at once. If you want to go beyond existing limits, you have to proceed slowly, surely and constantly, step by step. Anyone who is in a hurry and misses out a step will stumble sooner or later.
Sigmundskron Castle:history & restoration
The castle squats on a porphyry spur of Mitterberg overlooking the confluence of the rivers Etsch and Eisack. Sigmundskron was always something special; it is one of the oldest castles in South Tyrol and, with its five-meter-thick walls, an early example of the art of fortified construction. 945 A.D. is the year of the earliest extant record of the castle, which at the time was called Formicaria (and later Formigar). In 1027 the Emperor Conrad II presented the castle to the Bishop of Trent. In the 12th century the castle passed to high-ranking civil servants, who thereupon called themselves “von Firmian”. Around 1473 Duke Sigmund the Wealthy, Prince of the Tyrol, bought the castle, had it converted into a fortress and changed its name to Sigmundskron. Only a few minor structures of the old Formigar Castle remained, mostly at the highest point of the grounds. Due to financial difficulties, however, Sigmund soon had to mortgage the castle, which subsequently fell into decay. At the end of the 18th century the castle belonged to the Earls of Wolkenstein, from 1807 to 1870 to the Earls of Sarnthein, and from then until 1994 to the Earls of Toggenburg.
The castle is a significant political symbol for the South Tyroleans. In 1957 the biggest demonstration in the history of South Tyrol took place there at the instigation of Silvius Magnago. More than 30,000 South Tyroleans gathered at the castle to protest the failure to implement the provisions of the Paris Agreement and to call for separate autonomy for South Tyrol (“Away from Trent”). The ruins of the castle were finally acquired by the Bozen provincial authority.
With the architect Werner Tscholl, Messner found a kindred spirit for the refurbishment of the castle and the exhibition blueprint. Tscholl is a specialist in castle conservation; his primary objective is to preserve the original. The challenge at Sigmundskron was to preserve the historical walls of the castle and implement the necessary measures in such a way that they can be reversed whenever required. The new architecture remains in the background and serves merely as a stage for the exhibition. The glass roofs on the towers, for example, are not visible from the outside, nor are the various pipes and cable ducts. The architect restricted his choice of materials to steel, glass and iron as being both modern and timeless.