You won’t support your favourite football team, neither you will see spectacular goals. From September 9 to October 27 2019 , at the Wörthersee Stadion Klagenfurt in Austria, the main attraction will be the nature. For Forest by the artist Klaus Littmann will be the biggest public art installation in Austria and it will recreate an actual forest, with its biorhythms and changings, within a football stadium.
30.000 people will seat on the bleachers to admire the artwork which blend art and nature in a place wanted and built by men. The work of Klaus Littmann raises important questions on the environment and on how often it is taken for granted, opening up the possibility that in the near future it might be observed just in designed places. Just like in a stadium, art and nature play their match in Austria .
Klaus Littmann and the never-ending artwork
The monumental installation concerns the delicate transplant of almost 300 trees within the Austrian stadium, to create the impression of a Central European native forest with its seasonal and environmental changings. The forest will breathe before the eyes of the viewers who will have the chance to admire the uniqueness of this artwork from 10 in the morning to 10 at night . The new forest won’t end its life here and after the period of installation at the Wörthersee Klagenfurt stadium, For Forest will be replanted not far from where it is born.
The project creator is Klaus Littmann. The artist lives and works at Basilea, in Switzerland, and attributes to his teacher, the performance artist Joseph Beuys , his approach to production towards social issues, often developed in urban spaces. The world-famous master with his important Littmann Kulturprojekte , re-elaborate, through his artistic sensibility, the relation between art and nature.
The Forest will be the winner of the match this time
Since the drawing of 1970 of the artist and architect Max Peintner , The Unending Attraction of Nature , which explicitly inspired Klaus Littmann, the new artwork wants to give voice to the forest like in a memorial, so to make men reflecting on environmental topic, bringing together art and nature.
1970/71 Courtesy of the artist
Peintner’s artwork becomes the manifesto and icon for the art which intends to eviscerate the theme of the environment and of its exploitation by human beings: the trees stand out among the smoky chimneys of factories and in the urban zoos purposely created for them; and the crowd is spectator of this abuse right here.
With For Forest , by Littmann, these issues become even more rooted and find new life for being handle thoroughly, providing them with unexpected spaces.
Rediscovering nature in unexpected places thanks to design: at the stadium, at home, at the office or at your own store
Everyday design becomes the keystone for fully and consciously living the relation between men and nature even in the places we live in. At home, in the stores or at the office, wallpaper may become the For Forest we’re looking for, in this case pluvial. From Amazonia comes in fact the inspiration of the international artist and designer Lauren Wan whose wallpaper Rainforest Reflections colors the walls with the reflections of a tropical scenery.
The artist, observing the environmental issues within her artworks, totally reflects the wish of the brand to raise awareness towards these topics: the processing through images of the most lush and rich area of the planet covers the walls of our everyday life places and invites us to dwell on its international relevance. Amazonia represents for Ambientha a breath of life in a perspective of full awareness of climate changes that our earth, together with us, is facing.
The themes covered belong to the emotional choices of the artists who collaborate with Ambientha and whose creativity and artistic know-how enables them to proactively participate to the project, developing such concepts of great shared interest.
Before this match between art and nature, signed by Klaus Littmann among the first, we need to support one only team: For Forest .
