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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. 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. 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. 2011 MELITTA MOSCHIK. Enlightenment Last Supper MMKK - Tableaux vivant after Leonardo/Ulrichs Interactive Perofmance in the Burgkapelle Art Space MMKK 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. 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. 2010 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 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. 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 • 9021 Klagenfurt a.W., Austria • ++43(0)50.536.16252 • office.museum@ktn.gv.at
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