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2011 strictly geometric The exhibition consists of fifteen current, contemporary Austrian and international positions of geometric, abstract minimalist art. The contributions represent heterogeneous individual positions which are then linked in such a way that an overview of the great variety of present-day possibilities and trends within the constructivist spectrum can be conveyed. The works are mostly inspired by diverse approaches, intentions and historical references. They are linked by a stylistic motivation towards non-figurative, geometric composition – a possible variant of artistic treatment, rooted in early-20th-century constructivist or concrete trends and still valid – and the century-long history of its development, a frame of reference available to artists today. The selection focuses on recent works in a wide variety of media, ranging form painting through drawing, film, photography, object- and room installation, to animation, (colour/light) projections and acoustical experiments. Modern and unusual materials and resources, such as plexiglass, blacklight and polyester or intricate works of folded paper and massive folded felt creations, are juxtaposed, providing a surprising, exciting and varying image of an art form, still to be discovered in Austria and established in all its diversity and significance. Artists: Hellmut Bruch | Inge Dick | Sabina Hörtner | Manuel Knapp | Suse Krawagna | Eric Kressnig | Zorka L-Weiss | Manfred Mörth | Ingo Nussbaumer | Harald Pompl | Miriam Prantl | Regine Schumann | Gerold Tagwerker | Mar Vicente | Peter Weber focus collection 02. POINTS OF VIEW. Images of mankind opening: Wednesday, june 8 2011, 7:30 pm | ANSICHTSSACHEN. Menschenbilder [Points of view. Images of mankind] is the second exhibition in the series fokus sammlung [focus on the collection], which aims to review the art collection of the Province and to present it to the public in regular exhibitions. The idea is to show items from the collection in variously themed annual exhibitions and from different perspectives, so that the quality and the variety of the collection can be demonstrated. The image of mankind is bedsides landscape, the principal genre in the collection. The motif of the human figure has held a lasting attraction; the human being – whether in his outward form or in his state of mind, as a physical or an emotional benig, as an individual or in a social context, as an aesthetic or a rational object – has always, in various ways, presented a challenge for artistic examination. The exhibition will present a cross-section of the genre in some 130 works by 60 artists, in the broadest possible spectrum of media, from painting, drawnig and photography to sculptural and electronic techniques. The contributions – from the Biedermeier portrait to present-day representations – are arranged according to the classic categories of portraiture: child, family, female, male, self-portrait, female and male nude, divided into single, double or group picture, and with themes arising from the collection itself. Works from periods up to 200 years apart are juxtaposed; characteristics and qualities are compared, and at the same time a short history given of the development in each theme. CUT Silhouettes. 20 contemporary positions opening: wednesday march 16 2011, 7 pm The cut-out, found in a wide variety of cultures, has developed over more than a thousand years, starting in China. In the history of European culture, verifiable from about 1600 BC, the art flourished in the 18th- and 19th-century silhouettes. Subsequently, apart from its minor role in artistic experiment, there was little interest in the genre, which survived mainly in traditional craftwork. Only in recent years has it regained relevance and attracted increasing attention in the art world, interesting for the manifold creative possibilities it offers artists, who now exploit these to the full, with innovative interpretations. The ancient art has almost completely broken free of its traditional appearance – the small, two-dimensional paper silhouette –, to conquer three-dimensional space, in which it is realised in a wide range of modern materials, techniques and forms: from the classic paper cut-out to plexiglass, plastic and metal, or textile tableaux. It may appear as a picture, a sculptural object or an installation, subtly lit and staged, projected as a shadow theatre, or as a dynamised image in film and video. In the contemporary context, the cut-out has risen to become a fascinating medium in its own right, far exceeding its original purpose of mimetic or idyllic renderings of the real world, or of pure ornament. Now charged with new significance, it is accepted – beyond all romantic and tradition-bound notions – as a legitimate resource for critical treatment of current artistic and social questions. | ARTISTS: Gabriele Basch, Christian Boltanksi, Ulla von Brandenburg, Felix Droese, Jeanne Faust, Katharina Hinsberg, Werner Hofmeister, Julia Horstmann, Lisa Huber, Gudrun Kampl, William Kentridge, Birgit Knoechl, Philip Loersch, Rupprecht Matthies, Charlotte Mc Gowan Griffin, Melitta Moschik, Olaf Nicolai, Annette Schröter, Stefan Thiel, Kara Walker The exhibition CUT. Cut-outs is realised in collaboration with the Hamburg Kunsthalle. 2010 Ferdinand Penker opening: december 15, 2010, 7 p.m. Since the 1970s Ferdinand Penker has consistently developed a unified œuvre based on constructive and concrete ideas formulated under the influence of American Colour Field Painting, Minimal Art and European reductive trends. Painting, its resources, its potential and its general framework are scrutinised and expanded within a self-reflexive process. The work is distinguished by its analytical quality, and through the continuity and relevance of the discourse, which gives the artist a unique position within Austrian Modernist painting. During 1970s, Penker devised a vocabulary and a methodology which are widely varied and gradually intensified within a work. Central to the artistic work are the line – derived from the study of space and architecture – , the structure, and the painting of these components. The serial repetition of identical lines forms two-dimensional arrangements – abstract compositions resulting formally from his method of specific scriptural application of paint, homogenous, minimalist and tending towards the monochrome. The decisive feature is the 1990s extension of painting into three-dimensionality which breaks with the autonomy of the picture and expands the range of possible treatment. Ferdinand Penker was born in Klagenfurt in 1950 and studied medicine and art history in Graz from 1968 to 1972. From 1977 to 1987 he held a teaching post at the University of California in Davis. He now lives and works in Preding, Styria. HEIMAT | DOMOVINA The concept of "home" [Heimat] has undergone continuous change over the years – from its original definition as a geographical region, its legally relevant significance in relation to property, through its romantic definition, from its transformation from a private to a political concept, all the way to its ideological and emotionally-charged associations – thus becoming an instrument for reflecting historical, social and psychological processes. The exhibition Heimat | Domovina is intended to initiate a contemporary discourse on the subject of "home", carrying out an appraisal of the term on the basis of works by 16 artists from Carinthia and Slovenia. The results, belonging to every area – private, social, historical, political –, show a broad, heterogeneous spectrum of possible approaches to the concept, at the beginning of the 21st century, characterised as it is by globalisation, multi-culturalism, mobility, final location and migration. At the same time, the works show clearly what "home" can signify for the individual, what problems and what advantages may be entailed, what affects the individual, presenting challenges or provoking criticism, as well as what conveys confidence and security or gives rise to nostalgia. Generally, the question raised concerns an up-to-date appreciation of the term "home", apart from its territorial associations – not least the way in which we deal with it, considering on the one hand how it has been horribly misused in our history, and on the other, how it has become well-nigh obsolete in a world highly networked and without boundaries. Artists: JOSEF DABERNIG | INES DOUJAK | WERNER HOFMEISTER | IRWIN | CORNELIUS KOLIG |ERNST LOGAR | INA LOITZL | EVA PETRIČ | TADEJ POGAČAR | MEINA SCHELLANDER | NICOLE SIX & PAUL PETRITSCH | NIKA ŠPAN | JOCHEN TRAAR | PETRA VARL | INGE VAVRA | REIMO WUKOUNIG focus collection 01. Painting and Drawing focus collection is the title of a new exhibition series which regularly selects different aspects of the collection for closer examination. The aim is to explore the variety and the quality of the entire collection by placing the works in different contexts, showing them as dynamic and constantly changing, according to their nature. At the same time, the Museum is subject to continuous scrutiny of its central responsibility. The current exhibition deals with painting and drawing, the relation between the two genres and their development over the past 150 years. This is demonstrated in a selection of works – many of which are shown here for the first time – by 17 artists with a variety of methods, themes and approaches. The genres are displayed in the whole spectrum of their possibilities, from the ancillary tool of mimetic imaging to autonomous, self-referential resources, and in naturalistic, representational, figurative, abstract and non-representational contexts. Through the instructive chronological concept, the collection is also presented in the context of art history, and attention brought to the cross-regional relevance of the Carinthian artists' work. Artists: Hans Bischoffshausen | Hans (Jean) Egger | Bruno Gironcoli | Giselbert Hoke | Wolfgang Hollegha | Gustav Januš | Anton Kolig | Kurt Kocherscheidt | Alois Köchl | Peter Krawagna | Maria Lassnig | Franz Yang-Močnik | Valentin Oman | Hans Staudacher | Franz Wiegele | Ludwig Willroider | Reimo Wukounig Herbert Boeckl. Retrospective This exhibition of Herbert Boeckl's work surveys fifty years of modern art production. Despite the historical vicissitudes of two world wars, the artist – a native Carinthian resident in Vienna – maintained throughout decades a continuous development of his project of a modern movement drawing on the Central European and Mediterranean tradition. Several periods of work span a rich spectrum, from the Vienna Secession artists' use of line, through the 1920s reception of the work of Paul Cézanne and the expressive realism of the 1930s, right up to his post-war planes of colour inspired by cubism. With the early Carinthian landscapes, the drawings and paintings of the Anatomy series (1931), and the major cycles from the post-1945 period, the exhibition shows many highlights from this extremely complex œuvre, linking the ideals of the classical modern movement in the era of Egon Schiele and early Oskar Kokoschka right through the international crisis of the avant-garde in the 1930s and '40s with the beginning of "globalised" production in the 1960s. As professor at the Academy of Fine Arts in Vienna (1935-64) and an influential personality in the art world of the Federal State (1934-38) and the early Second Republic (after 1945), Boeckl – one of the few officially recognised and valued modern Austrian painters – always provided a link between the Austrian art world and international developments. With his mural in the Church of Maria Saal (1929), the great altar triptych (1934-44) and the frescos in the Benedictine Abbey of Seckau (1952-60), Boeckl also made important contributions to modern sacred art 2009 Contemporary Photography. New Austrian Positions The exhibition is contemporary is focussing on photography in Austria, presenting photo artists who are either native to Carinthia or already represented in the Museum collection, as well as on young Austrian photo artists. It gives an insight into current positions and works by graduates of the photography classes at the Vienna Adacemy of Fine Arts and the University of Applied Arts. Thematically arranged the works of the younger generation is placed in a context-related dialogue with photographs by establishe artists. The themes range from socio-political questions and critical perception of the immediate living environment to new approaches to landscape and portraits. Here the focus is on photography as image, and its surface structure between fiction and reality. Film, video and cartoon animation - closely connected twith the photographic image - are represented as well as are interdisciplinary approaches in combination with photography like installative staging, sculpture and room installation as a common trend to many works. Overall, the exhibition shows the wide range of themes, motifs and technical possibilities available in contemporary photography. On Normality. Art from Serbia 1989-2001 Curator: Dejan Sretenović in cooperation with MoCAB Museum of Contemporary Art Belgrad opening: Thursday, July 2, 7 p.m. The exhibition is based on the show On Normality that was showcased in 2005 in the Museum of Contemporary Art Belgrade. That show is generally regarded as cultural-political milestone in Serbia after the era of Milošević . After the last "Yugoslaw Documenta" in Sarajevo in the summer 1989 and the breakup of Yugoslavia, it represents a first display of ambitious contemporary art on an institutionalised level. It entails a first comprehensive combination of critical artistic positions. which emerged during the Milošević-regime and reflect this era, referring directly or indirectly to political events. In this way, the show achieves that artistic reflection and intellectual processing of a decade marked by wars, ethnic cleansings and general decay that is essential for a socio-political return to so-called normality. The exhibition in MMKK dicusses the immediate past of an European neighbour in view of its artistic production, and thematizes the role and the possibilities of free artistic articulation in hostile ideological surroundings. The attention is drawn towards structures within which political and artistic aspects interfere, and in which remarkable artistic positions reflect collective and personal attitudes and appearances. ARTISTS: Milan Aleksić, Association Apsolutno, Biljana Đurđević, Uroš Đurić, Adrian Kovacs, Zoran Marinković, Goranka Matić, Era Milivojević, Zoran Naskovski, Vladimir Nikolić, Tanja Ostojič, Neša Paripović, Vesna Pavlović, Bálint Szombathy, Talent, Zoran Todorović, Dragoljub Raša Todosijević, Milica Tomić Peter Zimmermann. All You Need With the advent of new image technologies, the so-called New Media, political, social and artistic paradigms were re-negotiated with reference to visual systems. In his creative work since the mid-1980s, Peter Zimmermann (b 1956) has dealt systematically with the topical question of a satisfactory construction for contemporary art. In the works shown here, covering a period of some twenty years, two reflexive strategies become apparent: the early works (mid-1980s – early 1990s) are based primarily on the concept of covering and simulation, whereas his many "blob paintings" (mid-1990s onwards) derive from a mediatisation of the themes. The focus is on cognitive knowledge of the cultural definitive power of visual pictorial methods. Zimmermann uses various simulative techniques (covering, sampling, remixing) to practise an aesthetic of illusion. The materiality and sensuousness of the symbols are revealed as elements of resistance to semiological legibility, and the images appear as seductively shining events in which the instant of contingency presents itself as a paradigm of the Modern Movement. 2008 Arnulf Rainer. Retrospective. Painting in order to end all painting With almost 100 works, this retrospective gives a representative cross-section of the œuvre of Arnulf Rainer, one of the internationally most significant and radical artists of the modern period. The exhibition begins with the earliest, gesturally abstract "centralisations", shown by the artist in the Klagenfurt Künstlerhaus in 1951. In the mid-1950s, Rainer began his series of "overpaintings", executed on works by friends and on historical prints. His treatment of photographs represents a second basic form of reworking. At the end of the 1970s, there followed the death masks, finger-paintings, Cross paintings and tondi. Rainer kept returning to the themes of death and religion, presented in a dynamic interweaving of form and content. His art initiated a prominent and radical confrontation with Austrian tradition and the European/American discourse on the modern period. K08 - emanzipation-confrontation - temporary art in Carinthia after 1945 With a survey of the development of art from 1945 to the present, the Museum of Modern Art Carinthia is the heart of this major exhibition. The turn to abstract painting is documented with works by Hans Bischoffshausen, Johann Fruhmann, Wolfgang Hollegha, Arnulf Rainer, Hans Staudacher, and others. In addition, the path from figuration to the abstract language of forms is traced with a number of graphic works. Examples of sculptures from Fritz Wotruba’s master class, such as works by Otto Eder, Anton Marcolin, and Hanak’s student Othmar Jaindl, demonstrate the rise of sculpture to an internationally acclaimed avant-garde. This leads into the presentation of the Carinthian artists like Hans Bischoffshausen, Kiki Kogelnik and Maria Lassnig, who sought a confrontation with the international avant-garde after World War II and settled in Vienna, Paris, or New York. When Bruno Gironcoli from Carinthia took over the master class for sculpture at the Academy of Fine Arts Vienna, this marked the beginning of a new era, which was accompanied by the inclusion of new materials and an expansion and transformation of the concept of sculpture. This development is represented with individual positions from Carinthia. Painting from the 1980s and 90s is presented with works by Giselbert Hoke, Gustav Januš, Kurt Kappa Kocherscheidt, Peter Krawagna, Valentin Oman, Wolfgang Walkensteiner, Reimo Wukounig, and others. This is followed by a contemporary section, leading from the essential trends of the 90s up to the present. Artists such as Ernst Logar, Claus Prokop, Heiko Bressnik and Birgit Pleschberger exemplify the interweaving of sculpture and painting with photography, film, and installation. Textile materials are increasingly used in the area of sculpture as a means of expression in more recent object art, presented through works by artists such as Gudrun Kampl, Barbara Bernsteiner, and Edith Payer. The castle chapel forms the framework for the installation “The Last Support” by the artist Johannes Domenig. KunstLandschaft. landscape art in Carinthia Das MMKK zeigt Landschaftsbilder aus seiner umfangreichen Sammlung. Mit der Auswahl der Werke wird erstmals eine kleine Geschichte der Landschaftsmalerei in der Kärntner Kunst vorgestellt. Es ist die anhaltende Faszination an der Landschaft, die die Künstler über einen Zeitraum von mehr als 150 Jahren inspiriert hat und bis heute zu immer neuen Bildfindungen anregt. Der Bogen spannt sich vom 19. Jahrhundert bis in die Gegenwart, führt von den romantisierten, auch sakralisierten Landschaften eines Markus Pernhart über die Auflösung der Form bis hin zur vollständigen Abstraktion im 20. und 21. Jahrhundert. In den Werken von Herbert Boeckl, Arnold Clementschitsch, Jean Egger, Sebastian Isepp oder Anton Mahringer bis hin zu den jüngsten Beiträgen von Richard Klammer ist diese Entwicklung sehr schön zu erkennen. KünstlerInnen: Karl Bauer , Werner Berg, Hans Bischoffshausen, Herbert Boeckl, Arnold Clementschitsch, Jean Egger, Felix Esterl, Maximilian Florian, Franz Grabmayr, Sebastian Isepp, Gustav Januš, Richard Klammer, Maks Koželj, Peter Krawagna, Markus Krön, Anton Mahringer, Markus Orsini-Rosenberg, Eduard von Moro, Hermann Poschinger, Markus Pernhart , Arnulf Rainer, Ernst Riederer, Karl Stark, Erich Trost, Ernst Vollbehr, Maja Vukoje, Egon Wucherer, Ludwig Willroider, Willibald Zunk MMKK Inter-Nationals The game of football, which dates back to the ancient world, points to a specific cultural tradition. Football has since become an international cultural asset; footballers such as David Beckham, Diego Maradona, Ronaldinho and of course Zinedine Zidane have risen to the status of superstars, idolised as artists in the field. The boundaries and taboos once evoked have vanished, and football has now assumed a place in the art of Post-Modernism. Under the title "MMKK International Match", the Carinthian Museum of Modern Art presents a series of high-ranking international, national and regional artists. In painting, installations, photos, films and staged productions, they reflect the phenomenon of football – witty, critical, ingenious, and of course playful. works by Stephan Balkenhol (GER), Stefan Banz (SUI), Werner Büttner (GER), Josef Dabernig (AUT), Stephen Dean (FRA), Manfred Erjautz (AUT), Werner Feiersinger (AUT), Thomas Grünfeld (GER), G.R.A.M. (AUT), Julie Henry (GBR), Gudrun Kampl (AUT), Cornelius Kolig (AUT), Markus Krön (AUT), Maria Lassnig (AUT), Olaf Nicolai (GER), Gabriel Orozco (MEX), Simon Patterson (GRB), Roman Signer (SUI) abstract Deliberately running contrary to the general focus on "new figurative" painting, the MMKK is compiling a historical thread of artistic abstraction in the 21st century. The exhibition will include 25 internationally distinguished artistic positions of the second and third post-1945 generations. The artists work at the boundary lines in the Modern Movement, exploring abstraction from new angles and without pathos. In abstract conception – in painting, sculpture and room installations – many of them have recourse to the visual repertoire of historical models, reflecting the ideas of the Classical Modern and its influence on the 20th and 21st centuries. Conventional attributions are made manifest, and the artist's position and artistic concept are critically questioned, together with conditions of reception and the production process itself. In particular, the position of the artist as author or creator is condensed and endowed with meaning far beyond the post-modern gesture of the quotation. All the works stand out by virtue of their unpretentious openness to abstract imagery. Intrinsic elements such as form, surface, colour, light, materiality and space function as symbols with implied significance and a challenge to come to grips with the content. Revealed here are contemporary cultural representational strategies which bring up to date the central themes of modern aesthetic discourse. 2007 Hans Staudacher. A retrospective On the occasion of the 85th birthday of Hans Staudacher, the MMKK is presenting a comprehensive exhibition of works. Staudacher, who enjoys a worldwide reputation, is regarded as the principal Austrian representative of the "lyric informel " style. A native of Villach, he moved to Vienna in 1950, where he still lives. During the period 1954-1962 he was frequent visitor to Paris, the centre of "art informel". Since the early 1950s, Staudacher has created abstract works with lyrical, gestural imagery; there emerges an open yet precise structuring which he consistently takes up and varies. The exhibition offers an overview of Staudacher's Oeuvre, including a considerable numer of works shown in public for the first time. Frammenti dell'Arte Povera In cooperation with the renowned private collector from Cologne, Reiner Speck, the Museum of Modern Art Carinthia presents for the first time Mario Merz (1925 – 2003) and Jannis Kounellis (born in 1936), two leading proponents of ‘Arte Povera’ (poor art). The presentation of this art movement, which was developed in Italy in the 60s, not only brings the art up to date and refreshes our memories, but, above all, also questions its validity. Blickwechsel No. 3 aus der Sammlung, Kunstankäufe 05/06 In the exhibition blickwechsel No.3 the Museum of Modern Art Carinthia presents at regular intervals the newly purchased art works of the provincial collection. The focus is mainly on new art trends by young Carinthian artists which together provide an impressive and comprehensive overview of the regional art scene. Donald Baechler, sculpture and painting; Blickwechsel No. 3 aus der Sammlung, Kunstankäufe 05/06 Donald Baechler, sculpture and painting For the first time in Europe the Museum of Modern Art Carinthia features a comprehensive exhibition by the renowned American artist Donald Baechler. In his work Baechler, born in 1956, concentrates on a few symbolic motifs which he selects from varying contexts and interprets in his unique way. The openness of his objects relates well to modern times and makes engaging with his art an interesting experience. 2006 Giselbert Hoke - NADA The Museum of Modern Art in Carinthia is presenting almost 100 paintings made by Giselbert Hoke in the exhibition NADA. Hoke, who was born in Bohemia and is nearly 80 years old, became famous overnight in 1956 for the frescoes he produced in the hall of the railway station in Klagenfurt - for which he became, initially, rejected. He has been living permanently in Carinthia since 1961. At the centre of the exhibition at the Museum of Modern Art in Carinthia, there are 22 recent large-format works on canvas which, with a few exceptions, have never been presented in public. They are, as Hoke himself says, "completely non-representational, abstract, and unnamed, the subject of which is the picture itself ..." They represent an unprecedented quality in the artist's work, and surprise those who know his work, while still carrying the artist's unmistakable trademark. Small-format paintings, partly - although merely coded - graphic paintings on paper, which were created in the last few years or earlier, complete them and illustrate Hoke's method of work. They originate from the subject areas of figure and landscape, and illustrate his path to abstraction. Curator of the exhibition and editor of the richly illustrated book which will be published on the occasion of the exhibition is Wieland Schmied. facing 1200°, Glasskulpturen der Berengo Collection, Venezia The tradition of Murano art glass and modernity: a dream made true by Adriano Berengo through the Berengo Collection, which celebrates its fifteenth anniversary this year. The collection i the result of the magical encounter of several artists from all over the world with glass. This age-old material, for its brighness, fluidity and transparency, perfectly suits contemporary art needs and utopian ideals. The artist's poetic intuition, combined with the Murano glass masters's know-how, is the alchemy which brings into being over 300 stunning sculptures which will be displayed for the first time ever at the Museum of Modern Art in Klagenfurt. artists: Henrik Allert, Elvira Bach, Luigi Benzoni, Ernst Billgren, Sergio Bovenga, Martin Bradley, Dusciana Bravura, Mark Brusse, Pino Castagna, James Coignard, Reinhoud D'Haese, Erik Dietmann, Paul Flora, Gerda Gruber, Adi Holzer, Ursula Huber, Marya Kazoun, Christoph Kiefhaber, Koji Kinutani, Kiki Kogelnik, Riccardo Licata, Bengt Lindström, Roberto Matta, Aldo Mondino, Irene Naef, Teruo Onuma, Irene Rezzonico, Juan Ripollés, Sandro Sergi, Shozo Shimamoto, Lolita Timofeeva, Imai Toshimitsu, Hannes Van Es, Jan Van Oost, Michel Van Overbeeke, Koen Vanmechelen, Claude Venard, Silvio Vigliaturo, Luciano Zarotti, Robert Zeppel-Sperl, Tatiana Zhurkov BIS HEUTE - Zwei Jahrhunderte moderner Kunst in Kärnten UP TO NOW - two hundred years of modern art in Carinthia Maria Lassnig - body awareness painting Maria Lassnig is considered to be one of the most important and signigicant contemporary artists of international renown. The exhibition, based on the holdings of the Essl Collection, comprises works from the mid-60s until 2003. The exhibition focuses on paintings, this selection is supplemented by the presentation of films and sculptures. In a significant collection between reality and fiction, Maria Lassnig produces striking and sensitive symbols which mark her artist position. 2005 Johann Fruhmann - a retrospective On the 20th anniversary of Johann Fruhmann's death the MMKK shows a retrospective on this Carinthian artist, who used to be quite reknowed in his lifetime, for the past few years wrongfully having fallen in oblivion though. colour.spaces Georg Herold Interior View - Künstler erforschen die Sprache der Architektur
16.03.2005 - 29.05.2005:
2004 blickwechsel aus der sammlung n°1 Eremiten-Kosmopoliten
17.02.2004 - 18.04.2004:
Sammlung Liaunig - 13 Kärntner Positionen nach 1945 2003
23.10.2003 - 31.01.2004:
0 1 2 view - Kunstankäufe 2000/01/02 im Kontext der Sammlung |
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Museum Moderner Kunst Kärnten • Burggasse 8 / Domgasse • 9020 Klagenfurt, Austria • ++43(0)50.536.16252 • office.museum@ktn.gv.at
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