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2010 Marlies Liekfeld-Rapetti. Breeding The elements of life – the cycle of emergence, growth and decline, most evident on the surfaces of bodies – form the central thematic framework in the art of Marlies Liekfeld-Rapetti, against the background of her life experience as a woman. The basic material for her three-dimensional work is paper. Soaked in liquid and layered, it can convey the haptic qualities, the fragility and vulnerability of skin, allowing the artist to form "skin dresses" "body shells" and "mummies". Developments in the field of molecular biology, especially the first successful cloning of a mammal, in 1996, led the artist to make a study of the possible influence on the natural processes of human life. Aldous Huxley's novel /Brave New World/ (1932), which describes the grim prospect of manipulated breeding of human beings, ultimately provided the incentive for an artistic appraisal and the creation of her amniotic sacs. In her installation entitled “Zucht” (“Breeding”) in the Burgkapelle, Marlies Liekfeld-Rapetti links the plexiglass forms with other groups of works, penetrating yet deeper into the central theme. 2009 Katalin Deér. House of God On Normality. Art from Serbia 1989-2001 Dragoljub Raša Todosijević: Fuxus Piano - You will never play again, 2009, Kunstraum Burgkapelle MMKK Markus Orsini-Rosenberg In his paintings, Markus Orsini-Rosenberg (b 1961, resident in Vienna and Damtschach) puts nature up for discussion as a metaphor for inwardness. Under the title Simulacrum, he has created an installation which masks the historical illusionist frescos by Josef Ferdinand Fromiller. By veiling this large-scale fresco in the apse of the former baroque church, the artist puts historical representational iconography in its place. Through this statement, he re-constitutes the historic space, drawing attention to its structural characteristics. The chapel no longer appears as a place of baroque illusionist display of power and politics, but as a place of latent recollection, where illusion and deception are transformed. Orsini-Rosenberg sets large-scale tondi between the columns of the historic architectural painting; an enormous structure made of real natural elements – he uses hazelnut bushes – serves as reference to an easel, to which a number of landscape paintings are attached. On this subsidiary level, the artist reflects the relationship of artistic appearance with reference to reality, so convincingly suggested in his painting. 2008 Pepo Pichler: Jacob's Nightmare Pepo Pichler (b 1948), who commutes between St. Margarethen and San Francisco, designed the installation Jacob’s Nightmare especially for the Burgkapelle. Referring to current global political events, he stages in the former castle chapel an impressive artistic narrative of the self-generating force of Evil and dehumanising violence. In contrast to Old Testament history, Evil gains the upper hand; symbols of knowledge and insight become murder weapons, establishing the continuation of war and violence. Into the religious iconography of the chapel, Pichler nonchalantly puts the "birth table" on which the transformation process takes place. The stone which Cain once used to kill his brother Abel is transformed into a modern handgun. The ladder that once appeared to Jacob in a dream generates not knowledge, but violence, in the form of hand-grenades and machine-guns. The reliquary – a radiant glorification of war, the machinery of death – enshrines a body-bag, which every soldier carries in his rucksack. Johannes Domenig: The last Support Johannes Domenig's sculpural work deals - without showing human figures itsself- with human existence. Pointing out everyday things of life in a world between consumption and chaos the artist - very sensitive regarding material and its formal and functional aspects (plastic in this case) - focuses on the problematical situation of global support , the waste of ressources, epidemics, deseases and death. The installation work in the former chapel of the castle of Klagenfurt thus is positioned between consumption as enjoyment, abbundance and yet chaos, "leaving a melancholic touch, but also subtle irony" - as the artist himself points out - on the work. Maybe even this becomes the decisive spark of hope. Deborah Sengl. On sheep and wolves In her work " On sheep and wolves" Deborah Sengl concentrates on the contrasting pair offender/victim, linking it with behavioural research and gene technology, and making use of cultural attribution and significance of animals and human beings. Her critically provocative art construes meticulously the possibilities and impossibilities arising from the combination of differing elements. Sheep and wolf are taken as models for the visualisation of an inner and an outer struggle. Here the artist shows the sheep/wolf figures she has created over the past eight years, adapting the presentation to fit the sacred setting of the chapel. 2007 bella ban dream. a space picture With her installation, bella ban (born 1958 in Klagenfurt) responds directly to the art space of the former castle chapel, transforming it into a three- dimensional, emotionally highly-charged image in which past and present, effortless lightness and deeply-felt pain, splendour and violence are linked. As an "aesthetic purist", bella ban sets great store by consistency of form and content, of subject and material. In dream. a space picture, she works with glass, a material capable of excluding matter while admitting light and view, using it both architecturally and as a metaphor. Gudrun Kampl Death in Velvet In her spatial intervention, Gudrun Kampl (/b/ 1964) makes reference to the formerly sacred space of the "Burgkapelle", exploring with her sensuously velvety, baroque-style installation the themes of life and death. "When you think about death, you have to include life." It is the few moments of authentic encounter that constitute the essence of life and enable the experience of aesthetic dimensions at the threshold to death. Kampl's objects tell of beginning and end, of dissolution and return. Berlinde De Bruyckere, Man of Sorrows The internationally renowned belgian artist, Berlinde de Bruyckere born 1964 presents her sculpture Der Schmerzensmann in the art space Burgkapelle of the Museum of Modern Art Carinthia. In her work she translates an ecclesiastical theme into a compelling figure that suggests a distorted and fragmented human being. The ‘Man of Sorrows’ refers back to medieval iconography and creates an overwhelming impression in the surroundings of the baroque chapel. 2005 Chiharu Shiota "during sleep" " in my work I am seeking my own birth, where I came from. Where I come from is one of my main themes....my own Heimat, that's inside, a personal thing. Art is Heimat. And looking for it is what my art is about.....I want to be something more than language. I want to bind the body with the universe. I'm looking for how to connect my body to the universe..." Chiharu Shiota Georg Herold For the first time in Austria the MMKK shows a comprehensive retrospective on the german artist Georg Herold. |
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Museum Moderner Kunst Kärnten • Burggasse 8 / Domgasse • 9020 Klagenfurt, Austria • ++43(0)50.536.30542 • office.museum@ktn.gv.at
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