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Using a crane, a large-scale sculpture of the Young Hare by Albrecht Dürer was hauled up onto the Albertina's shed roof in Vienna on Good Friday, 18 April 2014. Ottmar Hörl, the German conceptual artist and sculptor, created a bright pink polyester sculpture of the Young Hare, scaled up to twenty times its original size.
"Art is artificial," as Albertina director Klaus Albrecht Schröder summarised the intended signalling effect of Hörl's Hare on Holy Thursday, 17 April. After all, the Dürer Hare's tremendous popularity would make people forget that it did not represent reality either. This masterpiece was only a quarter the size of a living wild hare, and, what's more, was painted on a light background without any scenery whatsoever. By dint of the degree of abstraction clearly visible in the bright pink Hörl Hare, one intended to point out the fact that the Wild Hare was also artificial.
The origin of Hörl's Hare is in 2003, when Ottmar Hörl created a visual, artificial turf made up of 7,000 serial Dürer Hares in four different shades of green in Dürer's hometown of Nuremberg. (GAT GrazArchitekturTäglich)