HOME Museum Moderner Kunst Kärnten


11.12.2014 - 01.03.2014:

zweintopf - The Flat Earth Society
zweintopf – seit 2006 agieren Eva Pichler und Gerhard Pichler als Künstlerduo mit vorsätzlich widerspenstigem Namen. Von der Steiermark aus präparieren sie in ortsspezifischen Installationen, Videos, Objekten und Kunst im öffentlichen Raum ihren Blick auf die globalisierte Welt, auf politische Zusammenhänge, ökonomische Zwänge und gesellschaftliche Phänomene. Temporäre Monumente und unangemeldete Interventionen formieren sich dabei gegen eine zunehmende Überwachung und Eventisierung des öffentlichen Raumes. Im Ausstellungsraum erfahren handelsübliche Massenprodukte oder gefundene Objekte, Klischees und Kulturtechniken ihre Umdeutung innerhalb multimedialer Assoziationsfelder. Wenn nun in der Burgkapelle Versatzstücke einer vorgeblich funkelnden Waren- und Medienwelt auf die illusionistische Barockmalerei samt regionalem Heiligenkanon treffen, geht es neben der erfolgreichen Simulation verschiedener Welten nicht zuletzt auch um eine Verflachung der Welt. Hatte Josef Ferdinand Fromiller noch über die Geheimnisse der Geometrie versucht, die gebaute Wirklichkeit zu durchbrechen und dem Göttlichen einen sphärischen Raum zu eröffnen, so genügt innerhalb der relativ komplexen Warenwelt der heutigen Konsumgesellschaft längst ein vordergründiges, sich regelmäßig wiederholendes Spektakel und die mediale Vorspiegelung einer Wirklichkeit, die den Einzelnen und seine Handlungen für sich vereinnahmt. Der Titel „The Flat Earth Society“ ist dabei einer Bewegung entliehen, die wider aller wissenschaftlichen Erkenntnisse bis heute behauptet, dass die Welt eigentlich eine Scheibe ist.
IN-between-SPACE, 2014, Detail, ©Bildrecht, Wien, 2014 06.04.2014 - 25.05.2014:

Eva Petrič. IN-between-SPACE
The young Slovenian artist Eva Petrič has grown up on various continents and cultural circles. The experiences as a cosmopolite have influenced her views on the world and life and sharpened her sensibility. with these prerequisites, the artist has developed an individual interdisciplinary language. She draws upon the stock of human history freely and unconventionally, subjectively charging fairytales and myths, signs and symbols, discoveries, inventions and relics, interpreting them and combining them with personal thoughts and feelings, in order to find her way to new narratives. In fantastical presentations with poetic, transcendent or real pictures and pictorial spaces, she creates actual and imaginary spaces. In the Burgkapelle, Eva Petrič stages a multimedial work based on an ESA photograph of the space telescope "Hubble", depicting newly emerged stars and star constellations. Petrič replicates this specific stellar formation, by sewing countless little doilies together into large textile shapes and stretching them across the chapel like a backdrop. Additionally, there is a soundscape with NASA recordings of sounds from outer space, the artist's singing and music by her and Matija Strniša, together with photographic projections which transform the room into an interactive, evocative structure. The chapel as a spiritual setting oversteps the boundaries of its former purpose. The existential questions, so pressing in the spiritual context are raised in an extended discourse, outside the religious framework, which combines the big bang theory and the theological myth of Creation.


Sibylle von Halem, Opaion, 2013, Fotomontage unter der Verwendung eines Fotos von Ferdinand Neumüller, © Bildrecht, Wien, 2013 12.12.2013 - 16.02.2014:

Sibylle von Halem. Opaion
Sibylle von Halem is interested in the real, imaginary and intuited places where you get in touch with your surroundings, as well as the strong basic feelings which occur when the inner world of a person completely thrown on his own resources meets the outside world. With her light textile installations and her stone works, the artist presents personal protective covers and intimate places – such as skin and clothes or beds, showers and dwellings – as interfaces between interior and exterior, as places between private and public spheres. Feelings of security and vulnerability are very close here, and one can quickly become the other. The Greek word "opaion" refers to a central opening at the highest point of a dome. Sibylle von Halem's work in the Burgkapelle is a response to the illusionistic baroque frescoes defining the former sacred space, particularly the painted trompe l'oeil dome which opens up to the sky – towards which the artist directs the viewer's eye by means of her installation. With Christian iconographic elements largely veiled, and the focus on the individual, Sibylle von Halem poses a general question about people's spiritual needs. Here in the context of the Burgkapelle, for the first time her work focuses on each person's desire to surpass himself, which the artist enables us to experience as a human urge within the field of tension between free will and constraint.
20.06.2013 - 20.10.2013:

Luisa Kasalicky

21.03.2013 - 02.06.2013:

ART PROTECTS YOU Jochen Traar. the local
Jochen Traar transforms the former sacred space of the Burgkapelle into a place of secular encounter. It has been converted into a public space (accessible directly from the street) equipped with seating and a small library with publications on diverse topics in the field of "self-help" in the broadest sense and ambiguously advertised as "the local", referring on the one hand to pub or premises, and on the other to local residents. The latter interpretation relates the title to the content of the programme in the Burgkapelle, which offers a series of lectures on a variety of life situations, parallel with and as a part of Jochen Traar's exhibition at the MMKK. With their expertise, the lecturers, all either local or at least with regional associations, represent one of the particular advantages of the region, which is the main focus. Qualities which escape public notice in everyday life obscured by the headlines of the day, are visualised and manifested. Traar's specific and familiar field is his work in the social environment, intervention and actual projects as experimental procedures. He conveys the idea and the strategy as input and provides possibilities which can be either further developed or else refused, in each case leading the process towards diverse results with varying expressive force. At the same time, the museum is made accessible to new social content and is shown as a place of social encounter and or discourse. The task of art and the artist as well as the institution are self-critically examined, questioned and perhaps even redefined.


27.09.2012 - 25.11.2012:

Heike Weber. Kilim
Cologne artist Heike Weber concentrates on extending drawing into the spatial dimension. Her linear designs depart from the picture support; they are independent of it, floating or lying free, so that they assume sculptural qualities. They may cover the surfaces, the floor, walls and ceiling of rooms, adapting to fit them, breaking up the plain surface and making the room itself not only the picture support, but also – in the most radical case of "all-over" – a walk-in drawing. Her drawing materials are everyday objects – hair-nets, washing-lines, adhesive dots, window paints, carpet runner, crepe tape, PVC permanent markers PVC, etc. For the Burgkapelle of the Carinthian Museum of Modern Art, where the walls and ceiling are covered with baroque paintings by Josef Ferdinand Fromiller, Heike Weber has produced a silicon kilim carpet that almost completely covers the floor. She confronts the illusionistic paintings with a carpet that might also be termed "illusionistic", consisting as it does purely of structural ornamentation of the flooring, drawn in silicon. This confrontation brings up – besides questions of iconography, iconology and cultural transfer – a subject area ranging between Orient and Occident, sacred and secular, tradition and modern. A flying carpet of Eastern origin meets the ascension of a Carinthian saint.
21.06.2012 - 09.09.2012:

Hermann Nitsch
A special highlight is the Burgkapelle, which Hermann Nitsch uses - in a almost idealised way - to reflect the religious aspects of his own works against the background of baroque frescoes by Josef Ferdinand Fromiller.
Hanakam & Schuller 22.03.2012 - 03.06.2012:

Hanakam & Schuller. Crystal Cathedral
Markus Hanakam (*1979) and Roswitha Schuller (*1984) make use of diverse media – video, interactive computer applications, installations, drawing. They deal with current contemporary artistic strategies which they adopt using in their own, often ironic way. In their works they frequently use anonymous objects with industrially manufactured synthetic parts which are given emotional significance by the assignment of properties and functions, and then used in films, animations and installations. "Hanakam & Schuller create virtual spaces which, through a complex system of mises-en-scène and an interplay of quotations, develop into an individual cosmos. Through the alienated and personified portrayal of industrial products and everyday objects within a new setting, Hanakam & Schuller ultimately demonstrate their break with consumer society." (Margarita Rukavina, 2010). In the Burgkapelle, they connect this approach with a paraphrase of the design of the Garden Grove Community Church – the first drive-in church in the USA (architect: Richard Neutra), which is now the broadcasting centre for the Christian televangelist and author Robert H. Schuller of the international TV programme Hour of Power – into a complex installative work which raises formal questions of aesthetics as well as enquiring critically and analytically into content. Hanakam & Schuller have been present in exhibitions in Europe, the USA, Japan and Russia (4th Moscow Biennale of Contemporary Art 2011) since 2005. For their work they have received distinguished awards such as the MAK-Schindler Scholarship in Los Angeles (2008) and the Jury award for INVASION at the 2012 Japan Media Arts Festival.


Melitta Moschik, Enlightenment, Installation MMKK Burgkapelle 15.12.2011 - 04.03.2012:

MELITTA MOSCHIK. Enlightenment

Irene Andessner / Timm Ulrichs, Last Supper MMKK , 2011 23.11.2011 - 23.11.2011:

Last Supper MMKK - Tableaux vivant after Leonardo/Ulrichs
Interactive Perofmance in the Burgkapelle Art Space MMKK
Eva Paulitsch und Uta Weyrich, true fiction 22.09.2011 - 20.11.2011:

Eva Paulitsch and Uta Weyrich. True fiction
At the points of intersection between private and public or institutionalised space, the work of Eva Paulitsch and Uta Weyrich incorporates art and society. They combine real and virtual spheres, interventionist and participatory strategies with classic forms of installative museum presentation and make use of the latest techniques of electronic image generation and communication. Taking as a basis recent private mobile phone videos recorded by teenagers, the artists integrate these into their work as authentic personal testimonies of present-day perception of reality, as direct, subjective views of the real world. Viewed together, the various recordings of seemingly insignificant things result in an intriguing and comprehensive image of the contemporary Lebenswelt and society as a historical document consisting of transient spotlights selected from a frantic flood of images from everyday life. In the Burgkapelle, the films are shown on surfaces that seem to float freely, and transform the former chapel into an experiential space which includes the viewer. The construction of these virtual worlds bears direct reference to the baroque trompe l'œil painting of Josef Ferdinand Fromiller. Thus, two diverse illusionist pictorial spaces meet – the static, historical, religiously motivated, spiritual rendering of the apotheosis of St. Domitian and the dynamic, modern state of present-day, mundane, materialistic, commercially-minded society – and their confrontation provides a complex analysis for questions on society and art, at the same time testing viewers' viewpoints, experiences and habits of perception. Technical realisation: Philipp Contag-Lada, www.7PC.de
Lisa Huber. KOPF.ÜBER, Tanz II (Ausschnitt), 2010, Holzschnitt auf Papier/Handabzug, Foto: Ferdinand Neumüller, VBK 2011 09.06.2011 - 04.09.2011:

Lisa Huber. HEAD FIRST
The artist Lisa Huber, who lives in Berlin and Carinthia, creates woodcuts of monumental dimensions. A specialised technique based on traditional methods allows her to achieve a distinctive painterly effect in the individual hand-printed sheets. The linear drawing is enhanced by free-style colouration. It is mainly sacred or historical and literary themes that provide inspiration for Lisa Huber's woodcuts. She likes to take models from the Middle Ages and from early modern times. With her prints, she creates re-interpretations which she then produces in series. In the Burgkapelle, Lisa Huber's latest series of woodcuts is hung to form a kind of installation. The starting-point for these works is dance. As an intensive study of the body and as a profound expression of being, dance becomes the origin of the fundamental existential questions touched upon in this series. The dancer seems to be in free fall – gravity is suspended, time stands still. In these prints, the artist has captured moments of compressed intensity, and as a place of meditative power, the castle chapel provides the ideal setting. With this presentation, the Carinthian Museum of Modern Art offers a link with this year's regional exhibition in Fresach, where for the occasion, Lisa Huber has redecorated the windows and the apse.


16.12.2010 - 27.02.2011:

Morbus F., 2010, installation
25 abstrakte Blätter, die auf eisernen Objekten präsentiert sind, bestimmen als „monochrome Ebenen“ den Raum. Die Stützen erinnern an Schreibpulte mittelalterlicher Skriptorien und verweisen auf die präzise und monotone Tätigkeit der Mönche, die über Jahrhunderte die Weitergabe abendländischen Kulturgutes sicherte. Die Blätter selbst zeigen abstrakte Oberflächen, die mit dem Steinboden der Burgkapelle assoziierbar sind. Sie sind in Temperafarben ausgeführt, deren Pigment Ferdinand Penker selbst aus grauem Schiefergestein in Wales gewonnen hat. Mit dem Titel nimmt der Künstler zum einen auf die Namensgleichheit – F. steht für Ferdinand – Bezug, die er mit jenem Künstler teilt, der einst in spätbarockem Prunk die Wände der Burgkapelle mit illusionistischen Fresken ausgestattet hat: Josef Ferdinand Fromiller. Zum anderen definiert Penker sich selbst, den Namenskollegen und im Grunde den Künstler per se, als einen Menschen, der durch einen geradezu obsessiven Gestaltungswillen charakterisiert ist und daran gleichsam wie an einer Krankheit (lat. morbus) leidet. Daraus lassen sich die Fülle malerischen Ausdrucks erklären, die Akribie, mit welcher der Künstler seine Kunst verfolgt (bis hin zur Herstellung der Malmittel selbst), und der Zwang, sein Werk stetig abzuwägen und in einem selbstreflexiven Prozess zu diskutieren. Dieser Morbus führt den Künstler zu einer Malerei, die immer wieder aufs Neue beginnt, die immer weiter fortsetzbar und somit nie zu Ende ist.
23.09.2010 - 28.11.2010:

Werner Hofmeister, Ohne Titel, 2010
installation, part of HEIMAT | DOMOVINA
03.06.2010 - 05.09.2010:

Sabina Hörtner
Sabina Hörtner's work focuses on the exploration of spaces in all their dimensions, with reference both to concrete spatial structure and to social, political and historical definitions. Her subject is space as a complex cultural texture, but she also considers individual, personal circumstances. Artistic intervention starts at the point of intersection between the various spatialised discourses, at the same time redefining the space. The starting-point of the installation, which functions by means of light, colour and space, are the different images cast by reflections of daylight on the walls. The fleeting sensuous images of the subtle play of the light are captured in a sequence of six drawings which concentrate components of time and space – the fourth and the third dimension – on the two-dimensional paper. These illusions are a part of the spatial concept of an architectural stage which elevates the works and the viewer, in both space and significance, so that they meet their counterpart, the sacred baroque trompe l'œil painting, at eye level, thus becoming – as in the theatrum mundi – part of the action. The artist confronts the baroque chapel and the illusionist painting with a contemporary secular construction which stands in relation to the connotations of the room and to its form and colouration, and which, in its strict reduction and symmetrical arrangement, represents a clear antithesis to the baroque painting and its visionary content, deciphering and counteracting its form and content.
Marlies Liekfeld-Rapetti, Zucht, 2010, Ausstellungsansicht, Detail, Foto: Ferdinand Neumüller 18.02.2010 - 16.05.2010:

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.


01.10.2009 - 31.01.2010:

Katalin Deér. House of God

Dragoljub Raša Todosijević: Fuxus Piano - You will never play again, 2009 03.07.2009 - 13.09.2009:

On Normality. Art from Serbia 1989-2001
Dragoljub Raša Todosijević: Fuxus Piano - You will never play again, 2009, Kunstraum Burgkapelle MMKK
Ausstellungsansicht, Detail: Markus Orsini-Rosenberg, Simulakrum, Burgkapelle MMKK, 2009 21.03.2009 - 14.06.2009:

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.


Pepo Pichler: Jacob's Nightmare, 2008 28.11.2008 - 15.02.2009:

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, 2008; Burgkapelle Art Space, MMKK 07.07.2008 - 02.11.2008:

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.
detail from: Deborah Sengl, The wolf - as predator....,2005, collection of the cultural department of the city of Vienna (MUSA) 08.02.2008 - 30.03.2008:

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.


bella ban dream. a space picture, 2007 25.10.2007 - 20.01.2008:

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, velvet death, installation work in the Burgkapelle art space, 2007 22.06.2007 - 07.10.2007:

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.
detail from: Berlinde de Bruyckere, man of sorrows V, 2006 23.03.2007 - 20.05.2007:

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.


detail from: Chiharu Shiota, during sleep, 2005 20.10.2005 - 22.01.2006:

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
detail from: Georg Herold, pants down (mythological V), 1984 17.06.2005 - 28.08.2005:

Georg Herold
For the first time in Austria the MMKK shows a comprehensive retrospective on the german artist Georg Herold.

Museum Moderner Kunst Kärnten  •  Burggasse 8  •  9021 Klagenfurt a.W., Austria  •  ++43(0)50.536.16252  •  office.museum@ktn.gv.at