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Long dandelions in overwintered grass - Paula von Goeschen-Rösler

German , 1875-1941

We got used to the chaos and adapted to it. Logically, a foreigner who did not see those days at first hand would probably imagine that at a time when an egg cost as much in Austria as the price of a luxury car in the past, and later fetched four billion marks in Germany—roughly the basic value of all the buildings in the Greater Berlin area before inflation—women would be rushing through the streets tearing their hair, shops would be empty because no one could afford to buy anything, and the theatres and other places of entertainment would have no audiences at all. Astonishingly, however, it was just the opposite.

The will for life to go on proved stronger than the instability of the currency. In the midst of financial chaos, daily life continued almost unchanged. Individuals, of course, felt a great deal of change—the rich were impoverished when their money in banks and government securities melted away, speculators grew rich. But regardless of individual fates, the flywheel of the mechanism kept on turning in the same old rhythm. Nothing stood still. The baker made bread, the cobbler made boots, the writer wrote books, the farmer cultivated the land, trains ran regularly, the newspaper lay outside your door every morning at the usual time, and the places of entertainment in particular, the bars and the theatres, were full to overflowing.

For with the daily loss in value of money, once the most stable aspect of life, people came to appreciate true values such as work, love, friendship, art and nature all the more, and in the midst of disaster the nation as a whole lived more intensely than ever before, strung to a higher pitch. Young men and girls went walking in the mountains and came home tanned brown by the sun, music played in the dance halls until late at night, new factories and businesses were founded everywhere. I myself do not think I ever lived and worked with more intensity and concentration than I did in those years. What had been important to us before mattered even more now. Art was never more popular in Austria than at that time of chaos. Money had let us down; we sensed that what was eternal in us was all that would last.

‘Manuel’ - Rodrigo (Rodrigo Muñoz Ballester)

the edition i have also includes some process photos and alternate angles of the sculpture itself:

Cuno spotted on Väike-Tähe street in Tartu, Estonia !!!! Holy shit living in the same country that DE was made in has so much benefits.