Snow, fog, clouds—and in the midst of it all, a barely perceptible massif. Or, better yet, a white noise from which contours gradually emerge and just as steadily dissolve back into: As though ghost lights in the digital image-fog that dominates the expanse of this composition. A mountain peak, only vaguely discernible for the longest time, that halfway disappears again the moment it appears. The starting material for Michaela Schwentner’s bellevue are webcam recordings from Großglockner that she collected for months and condensed into a nine-minute “time image.” Schwentner’s method benefits from the rigid takes, mainly because within them, the interplay of appearing and eluding, of revealing and concealing, can develop the greatest possible effect.