24.09.2020 - 02.05.2021:

fokus sammlung 06. ABSTRAKT. Geometrie + Konzept
In the series 'fokus sammlung' [focus collection], which regularly presents themed exhibitions from the holdings of the Art Collection of the Federal Province of Carinthia/MMKK, after having already dealt with the major topics of painting – landscape, images of mankind, depictions of animals, and still life – in exhibitions and publications, the Museum of Modern Art Carinthia now devotes itself to the wide-ranging and heterogeneous field of abstract art. Non-objective art, the important innovation of the 20th century, can be differentiated into two possible forms: the geometric-constructive and the lyrical-gestural variety. In a first part, an exhibit subtitled 'Geometry and Concept' combines positions that relate to a systematic engagement with colour, form, surface, and space, are based on a logical-mathematical principle, and employ a minimalist visual vocabulary that is limited to elementary geometrical forms and a reduced colourfulness, which makes them echo the influential movements of constructivism and concrete art (of the first half of the 20th century) and the ensuing evolution of American colour field painting, minimal and optical art, as well as conceptual trends. Even though Austrian art has not brought forth a coherent and vigorous movement in the field of abstraction over the past century and Austrian artists could no longer be found heading the genre's development, eminent individual efforts have emerged in the art and exhibition scene from time to time, quite a few of which have also found their way into the collections of the MMKK. Today we can draw from this pool and bring together works by prominent artists in this exhibition, such as Karl Hikade, Hermann Josef Painitz, Heimo Zobernig, Josef Dabernig, Esther Stocker, Martina Steckholzer, Thomas Baumann, Luisa Kasalicky, Manuel Knapp, Roland Kollnitz, Suse Krawagna, Sabina Hörtner, Mar Vicente, and many more.

23.01.2020 - 30.08.2020:

The exhibition 'BILDER EINER LANDSCHAFT. WOBRAZE KRAJINY. WOBRAZY KRAJINY. PODOBE POKRAJINE.' is a joint project of the Foundation for the Sorbian People and the Sorbian Museum Bautzen (DE), the Museum of Modern and Contemporary Art Koroška (SI), the Museum of Modern Art Carinthia in Klagenfurt (AT) and the Wendish Museum Cottbus (DE). 12 artists in all, four from each of the three participating countries, address in their works the intercultural and interdisciplinary development processes of landscape and culture. The individual perception of landscape and the changes in it is closely related to the production of pictorial works of art, word images in literature and sound pictures in music. 'Landscapes become bearers of energy, their portrayals bearers of ideas', writes Karl Vouk, a Carinthian Slovene, in his introduction to the joint cultural project. Landscapes are to be seen as part of the collective memory. National and cultural identities are grounded in them. The works selected for the exhibition invite to identify with these portrayals, to detect and, if necessary, to scrutinise processes of change. Always aware of the fact that the respective qualities of perception and assessment are subject to reference points that can change along with shifting perspectives. For the visitors, this creates an arc of suspense that uncovers specific problems on the one hand and at the same time underlines the transitions between landscape, culture and society. Artists Nika Autor (SI), Iris Brankatschk (DE), Jošt Franko (SI), IRWIN (SI), Michael Kruscha (DE), Marko Lipuš (AT), Zorka L-Weiss (AT), Melitta Moschik (AT), Marko Peljhan (SI), Frauke Rahr (DE), Hella Stoletzki (DE), Karl Vouk (AT) Publication The exhibition is accompanied by a comprehensive publication in German, Sorbian and Slovenian.


19.09.2019 - 05.01.2020:

TOUCH WOOD the parallel exhibition to the art intervention FOR FOREST – the unending attraction of nature
The exhibition Touch Wood is a co-operative project by Littmann Kulturprojekte, the Carinthian Museum of Modern Art and the Stadtgalerie Klagenfurt, presented in the context of the art intervention For Forest in the Klagenfurt Stadium, in the two locations Stadtgalerie Klagenfurt and Carinthian Museum of Modern Art. A comprehensive display presents the complex motifs and aspects of this artistic exploration of the forest as subject-matter for the visual arts. Starting in the Stadtgalerie with a chronological, art-historical treatment of the subject, on the basis of various artistic works from the past 150 years or so (mostly from the collections of the Carinthian Museum of Modern Art and the Town of Klagenfurt), a link is forged to a heterogeneous multiplicity of topical, international, contemporary positions in all artistic media. The works are grouped into four focal areas concerning the state of the forest, its various potential forms in relation to mankind and its interpretations and interactions: as primeval forest, as cultural forest and as exploited, ruined nature, culminating in a current perspective of a "nature according to nature". The exhibition is curated by Nora Leitgeb, Beatrix Obernosterer and Christine Wetzlinger-Grundnig, and is accompanied by a catalogue (German/English) with a preface by Nora Leitgeb, Beatrix Obernosterer and Christine Wetzlinger-Grundnig and essays by Margit Stadlober and Ulrich Tragatschnig.

Foto: Heimo Rosanelli

14.06.2019 - 01.09.2019:

LASSNIG - RAINER. The early work
Maria Lassnig and Arnulf Rainer are amongst Austria's most successful artists. Lassnig would have been 100 this year; Rainer celebrates his 90th birthday. They first met in Klagenfurt in 1948, and their years together proved of seminal significance for their works. The exhibition demonstrates artistic approaches common to the two, as well as their individual forms of expression. The early work of both includes surrealist drawings. From 1951 onwards, they took several trips together to Paris. Incipient trends towards informel inspired them to experiment with innovative expressive possibilities. From 1947, Lassnig was already making her first "body sensation" drawings, which she called "introspective experiences". After her time in Paris, she worked on informel monotypes, calling the works "amorphous automatism", "static meditations" and "mute forms". After his return, Rainer wrote the theoretical treatise Malerei, um die Malerei zu verlassen [Painting in order to leave painting]. He created "microstructures", blind drawings, "centralisations", crucifixions and "vertical designs". Both Lassnig's "field divisions" and Rainer's proportion studies are based on geometrically ordered structures. After 1954, their directions diverged definitively; while Rainer exhibited his overpaintings in Monsignore Otto Mauer's Galerie nächst St. Stephan, Lassnig showed her series Kopfheiten [Headnesses] in the Galerie Würthle (both in Vienna). This exhibition, which includes around 120 works, has received support from many museums, galleries and private lenders, as well as from the Maria Lassnig Foundation. Many of Maria Lassnig's works are on view for the first time in over 50 years. The exhibition was mounted in co-operation with the LENTOS Art Museum, Linz. The exhibition is accompanied by a copiously illustrated catalogue published by Buchhandlung Walther König, Cologne, with a preface by Hemma Schmutz and Christine Wetzlinger-Grundnig, and essays by Monika Leisch-Kiesl, Natalie Lettner, Brigitte Reutner and Robert Fleck.

07.02.2019 - 19.05.2019:

Tomas Hoke. KOSMOS 4D. Retrospective 1976-2019
Tomas Hoke (b 1958 in Vienna) studied at the Vienna Academy of Applied Arts from 1978 to 1981, subsequently working freelance. He now lives and works in Vienna and in Schloss Saager in Carinthia, and has run a studio on the Berndorf AG industrial estate in Lower Austria since 1997. Over the past 40 years, Tomas Hoke has produced an extensive œuvre in the fields of jewellery, graphic arts, photography and particularly sculpture, installation and art in public space. In addition, he works as a curator and in the art business in general. Graphic arts and sculpture – which takes shape within a broad, modern range of materials, from metal through rubber to neon light, using an abstract, technoid vocabulary – develop in parallel. Both are based on the study of the human body, its proportions, characteristics and possibilities. The formal and material appearance and the character of the works are predicated on the reflection of the physiognomy, the study of the human microcosm, brain research and neuro-aesthetics: associative, symbolic forms, confrontational, interactive objects, kinetic, pneumatic, acoustic installations which, as vehicles of perception, appeal to the visual, tactile and auditive senses. Monumental metal sculptures take shape within the field of tension created by overstepping physical boundaries into the surrounding space and the transition from micro- to macrocosm as the place of shifting relations and of social interdependencies. His work focuses on art in public space, which combines all the questions the artist addresses in his work: self-referential, art-related, political and social, architectonic, spatial and structural considerations all play a part, and the human being, as a biological and philosophical being, as individual or in interaction with others, remains the condition for formal aesthetic and functional, artistic realisation. A comprehensive monograph published by RitterVerlag will accompany the exhibition.


25.10.2018 - 20.01.2019:

Iris Andraschek & Hubert Lobnig
The exhibition Ein Empfindliches Gleichgewicht presents both the individual work and joint projects of the two artists Iris Andraschek and Hubert Lobnig in ten rooms. Although the two artists work separately, they always find common points of in their art, bringing them together. Their art work focuses on society and its transformation. In their examination of contemporary reality, the two artists often address controversial issues such as migration, gender issues or the transformation of political and social orders, the effects and reactions to which are critically scrutinized and explored. In alternative counter-models beyond collective guidelines, the artists contrast the set guidelines of social structures and create a confrontation nimbus of utopia and reality. Characteristic for the two artists is above all their site-related work. Thus, the exhibition in the Museum of Modern Art in Carinthia also refers to the history of the building and places the works in the context of the "castle" in Klagenfurt and the Carinthian region as a special, cultural and political space.

14.06.2018 - 06.10.2018:

The Other Land. Carinthia | Koroška - in words and pictures
A dialogue between art and literature about Carinthia curated and staged by Christine Wetzlinger-Grundnig and Bernd Liepold-Mosser In Carinthia, we like to spend time reflecting on Carinthia. The "Kärntner Abwehrkampf" [Carinthian defensive struggle] of a century ago, and the subsequent plebiscite of 1920 are the historical events on which "Carinthiandom", the ever-renewed cultivation of Carinthian identity, is based. Carinthia is also, however, a land of literature and the arts, of artists who take a different perspective on the land, its conflicts and contradictions, its burdens from history and potential for the future, a perspective often rendered keener by critical reflection on the usual patterns. The exhibition The Other Land aims to initiate a productive dialogue between the perspectives of the visual arts and literature, preparing fertile ground for new perspectives. Selected art-works from the collections of the Province of Carinthia/MMKK are displayed together with texts from standard Carinthian literature in such a way as to expound their multi-faceted commentary on the "Carinthian spirit". Accompanied by texts and audio-transmissions, the exhibition explains topics and terms which have played an important role in the collective Carinthian consciousness (and unconscious), or which still do: "das Landle", "die Hamat", "das Liad", "die Liab" [our land, our home, song, love], etc. Thus the exhibition is designed to give rise to fresh, critical reflection on the unquestioned (and unresolved) requirements for thinking and living in Carinthia – a major role being played by humour and irony in order to shake ourselves free of unnecessary historical and ideological ballast. With texts by authors including Primus Lessiak, Josef Friedrich Perkonig, Ingeborg Bachmann, Peter Handke, Florjan Lipuš, Maja Haderlap, and pictures by artists including Markus Pernhart, Switbert Lobisser, Hermann Poschinger, Maria Lassnig, Cornelius Kolig, Gudrun Kampl Curated and staged by Christine Wetzlinger-Grundnig and Bernd Liepold-Mosser. The exhibition will be accompanied by a catalogue published by Johannes Heyn, with approx. 240 pp, essays by Bernd Liepold-Mosser, Christine Wetzlinger-Grundnig and others, with literary and song texts, detailed artists' biographies and copious illustrations. Price € 26.50.

14.06.2018 - 06.10.2018:

Stephen Althouse. Metaphors of Humanity
Stephen Althouse was born in Washington, D.C. in 1948, and lives and works in Rebersburg, Pennsylvania. He studied sculpture at the Tyler School of Art in Philadelphia, Pennsylvania, at Rollins College, Winter Park, Florida, and at the University of Miami, Florida. In 1976, Stephen Althouse graduated from Virginia Commonwealth University in Richmond, Virginia, with a Master of Fine Arts in sculpture and worked both as an artist and as a professor of art photography at Barry Art University in Miami, Florida. He has received numerous awards for his achievements in digital art printing. In addition to his worldwide exhibition activities, his works are also collected by the most important museums and private collections in North America, South America and Europe. The artist combines sculpture and photography in a unique manner by assembling objects he has made, collected and found himself, which visually express his ideas, and then arranging and photographing them with a large-format camera. The negatives are scanned, and the digitized data manipulated and modified by adding subtle elements. The artist leaves nothing to chance, every detail is well thought out and thoroughly constructed. Metaphorical symbols, such as unreadable words and phrases, an interplay of light, shadow and contrasts are indications of how multi-layered Stephen Althouse visually and technically composes his pictures and lends them spirituality, mysteries, poetry, strength and drama. For the exhibition, the artist has selected subjects to create his own museum edition of the pigment printing process, which are shown in the last three rooms of the museum. The show is accompanied by a catalogue with a foreword by Christine Wetzlinger-Grundnig and a text by Martina Gabriel as well as numerous illustrations. Further exhibitions of Stephen Althouse: 4.10.2018-10.2.2019 Mobile Museum of Art (MMoA) in Mobile, Alabama, USA; 14.9.-13-10.2018 Galerie Michaela Stock, Vienna.

Hong Kong Central, Ernst Logar 1996

08.02.2018 - 20.05.2018:

Into town
The exhibition entitled In die Stadt, a fictional portrait of a town, explores the question of what circumstances and situations are responsible for the ambience. The exhibition is divided into several subject areas, unrelated to the conventional urban orders and categorisations. It is more a matter of associative terms such as rhythm, density, friction, surface, interstices or relation, which allow a different form of narration about urbanity and urban ambience. Urban space is not the sum of built area, but a social space, continuously developing and self-productive, dependent on changing and often divergent political, economic, social and cultural interests, and often also determined by unexpected and peripheral events. In the exhibition, this state of becoming and changing is represented from an artistic perspective, which in turn reveals the inexhaustible fund and fertile ground, that a town as motif and tableau represents for artistic production. The exhibition is accompanied by a comprehensive catalogue published in English and German by verlag für moderne kunst, with contributions by Brigitte Felderer, Sebastian Hackenschmidt, Andreas Krištof/Christine Haupt-Stummer and Christine Wetzlinger-Grundnig. Curators Christine Haupt-Stummer and Andreas Krištof, section.a Christine Wetzlinger-Grundnig, MMKK Artists Ruth Anderwald + Leonhard Grond, Alfredo Barsuglia, BartolomeyBittmann, Hubert Blanz, Sabine Bitter & Helmut Weber, Catrin Bolt, Mateja Bučar, Gisela Erlacher, Lionel Favre, Andreas Fogarasi, Marlene Hausegger, Heidrun Holzfeind, Sonia Leimer, Ernst Logar, Nika Oblak & Primož Novak, Stefan Oláh/Sebastian Hackenschmidt, Manuela Mark, Gerhard Maurer, Julian Palacz, Isa Rosenberger, Evelin Stermitz, Jochen Traar, Julian Turner, Kay Walkowiak, Malte Wandel, Lois Weinberger, Nicole Weniger, Anna Witt, WochenKlausur


26.10.2017 - 14.01.2018:

Franz Yang-Močnik. I am the message and my interpreter
Franz Yang-Močnik, formerly also known as Franz Motschnig, was born in Völkermarkt in 1951 and now lives in Graz. He received his artistic training at the Ortweinschule technical college in Graz from 1970 to 1973. In the past four decades, Franz Yang-Močnik has developed an award-winning œuvre comprising the fields of painting, drawing and sculpture. The Carinthian Museum of Modern Art is now presenting works from the past 40 years, arranged into thematic groups. In his art, Franz Yang-Močnik focuses on humankind, society and his own existence. He is as much a philosopher as a keen observer. He formulates his findings by means of an expressive artistic vocabulary which drastically, impressively, and sometimes also poetically characterises existence in all its facets. In his paintings and drawings, he plumbs the depths man in his existence, as an exposed individual, in joy and in hardship, in fear and in pain, visualising him as an isolated, spiritual, physical and sexual being. He achieves this through a powerful expressive style, evident in his drawing, painting, collage and his figural renderings – the crucifixions, cyclists or café, bar or street scenes –, as well as in his abstract works, which could be "spiritual landscapes" or "existential spaces". The show is completed with literary experiments by the artist which have been published by the Heyn-Verlag, just like his pictorial works, in an accompanying catalogue with texts by Günther Holler-Schuster, Heimo Strempfl, Johannes Rauchenberger and Christine Wetzlinger-Grundnig. Accompanying the exhibition, a text and a sculpture by Gundi Feyrer, referring directly to Franz Yang-Močnik and his work, are displayed in the Museum foyer.


21.09.2017 - 30.09.2017:

Kooperation: COOP 05 im MMKK "absent faces"
Eine Frau legt sich schwarz angezogen ins Bett und flüstert nur noch. 15 Jahre lang, bis zu ihrem Tod. 100 Jahre später meint ihre Urenkelin J. in den Werken Leiko Ikemuras den Ausdruck eines Schmerzes zu erkennen, der zugleich ihr eigener ist. Schicht für Schicht werden ihre und der Urgroßmutter Traumata freigelegt. Bilder, Laute, Töne steigen aus dem Unbewussten hoch und verbinden sich zu einer neuen Sprache. Ein Abend über die Magie und Kraft unbewusster Bilder. Künstlerische Leitung, Komposition: Susanne Kubelka | Bildnerische Werke, konzeptionelle Entwicklung: Leiko Ikemura | Regie: Hans Escher | Film, Grafik: Karsten Lindemann | Kreation, Interpreation: Yoshie Shibahara, David Koch, Susanne Kubelka

Lorenz Friedrich, Madke 2017, Zinnguss

15.07.2017 - 31.10.2017:

(Kooperationsprojekt) Eine Zusammenschau von aktuellem Kunstschaffen und historischem Kulturgut – zeitgenössische KünstlerInnen im Dialog mit römischen Steindenkmälern aus dem Landesmuseum Kärnten Ein Kooperationsprojekt von Museum für Quellenkultur, Landesmuseum für Kärnten und Museum Moderner Kunst Kärnten

08.06.2017 - 07.10.2017:

fokus sammlung 05. STILL LIFE
With this year's summer exhibition, the Carinthian Museum of Modern Art continues the topical emphasis on the still life. After showing a wide range of contemporary national and international positions on the still life in the group exhibition "incredibly beautiful. STILL LIFE TODAY" in the spring of 2017, the current exhibition, in the series "focus sammlung" [focus collection] presents still lifes from the collection of the Carinthian Museum of Modern Art, which contains predominantly works from Carinthian artists, but also those of non-local artists. There is a wide variety of different qualities of classic still lifes in the collection. They include not only paintings and graphic pieces, but also photographs, object installations and videos. The works originate in the 19th, 20th and 21st centuries and describe many different styles, from Realism and 19th-century Biedermeier over the trends of the Modern era up to the diverse formulations of different means and media within postmodern possibilities. Among the participants of the exhibition are artists from the "Viktring Circle", such as Markus Pernhart, Ludwig Willroider and individual members of the Moro family; Nikolaus Gysis and Albin Egger-Lienz; the painters of the Nötsch circle, Anton Kolig and Anton Mahringer; various protagonists of the interwar period, e.g. Felix Esterl, Georg Pevetz, Herbert Boeckl and Werner Berg; post-war painters, such as Karl Bauer or Maria Lassnig, and contemporary artists, such as Reimo Wukounig, Cornelius Kolig, Bela Ban, Hubert Lobnig, Ernst Logar or Haim Steinbach among others. The works in the exhibition are arranged into 14 rooms according to topics – from flowers and meal still lifes, over animal pieces, sailor still lifes, Vanitas pictures to interiors and pictures of today's material world – and create a tension-filled contrast between their different times and stylistic opposites.

02.02.2017 - 14.05.2017:

incredibly beautiful. STILL LIFE TODAY
In seven rooms and in the Burgkapelle, the exhibition brings together works by 16 contemporary artists whose approach to rendering the still life results in a surprising variety, using present-day resources and addressing topical questions. This demonstrates that the still life – a genre with a long and varied tradition – evidently remains an interesting theme for the creative artist, and that its continuity and powerful symbolism represent an ideal reference-point for recharging the content and expanding the range of meaning. The diverse works include all media. The genre ranges from the classical arrangement of flowers, comestibles, objects and dead animals (rendered in drawings, paintings, photographs, actual material compositions or filmed images), to plants which spread beyond painted tableaux to form experiential spaces in extensive installations, almost landscapes, appearing as transient phenomena by means of light projections, or which – their nature and shape transformed by modern methods – are re-created in the most diverse objects. Only in the broadest sense do these contemporary artists understand the still life as the traditional genre, the definition of which has been stretched in the post-Modern age. Artists prefer to take up controversial socio-political issues, particularly concerning the economy, nature and the environment, or they engage in subjectively motivated exploration, reflecting on the artistic possibilities of an approach to the topic. Alex Amann I Christy Astuy I Catrin Bolt I Theres Cassini I Dietmar Franz I Sonja Gangl I Bernadette Huber I Richard Kaplenig I Cornelius Kolig I Karin Pliem I Barbara Putz-Plecko I Silvano Rubino I Thomas Stimm I Stefan Waibel I Thilo Westermann The exhibition is accompanied by a publication (approx. 100 pp. Price € 27,-) with a preface by Christine Wetzlinger-Grundnig and texts by authors including Brigitte Borchhardt-Birbaumer, Lucas Gehrmann, Daniela Hammer-Tugendhat, ISBN-978-3-9503572-6-4

02.02.2017 - 14.05.2017:

fokus sammlung. MEISTERWERKE
In sieben der 14 Ausstellungsräumen zeigt das Museum Moderner Kunst Kärnten eine Dauerpräsentation von ausgewählten Werken der Kunstsammlung des Landes Kärnten/MMKK. Zu sehen sind Bilder der bedeutenden Protagonisten und Protagonistinnen der Kunst in Kärnten im 19. und 20. Jahrhundert, von der Biedermeiermalerei über den Kärntner Expressionismus der Zwischenkriegszeit bis zu den avantgardistischen Strömungen nach 1945, von Markus Pernhart und den Brüdern Josef und Ludwig Willroider, dem Nötscher Kreis mit Anton Kolig, Franz Wiegele, Sebastian Isepp und Anton Mahringer; von Herbert Boeckl, Jean Egger oder Werner Berg bis Maria Lassnig, Hans Staudacher, Hans Bischoffshausen, Wolfgang Hollegha, Kurt Kocherscheidt, Bruno Gironcoli oder Kiki Kogelnik u.a.


28.10.2016 - 12.11.2016:

Kooperation: Theater wolkenflug im MMKK "NIPPLE JESUS"
Nipple Jesus - Schauspiel von Nick Hornby. Von Kunst hat Dave keine Ahnung. Die Stelle als Museumswärter hat er nur angenommen, weil es ihm als Türsteher zu gefährlich wurde. Nun steht er hier und bewacht Kunstwerke, alte und neue. Seine erste Aufgabe im neuen Job ist ein Sonderauftrag: Dave soll ein umstrittenes Bild bewachen. Aus der Ferne betrachtet, zeigt es den leidenden Jesus am Kreuz. Geht der Betrachter allerdings nah genug an das Bild heran, entdeckt er, dass es sich um eine Collage aus Tausenden von Fotoschnipseln handelt, die alle ein einziges Motiv zeigen: Brustwarzen. Zunächst ist Dave schockiert, aber nach und nach erwacht sein Beschützerinstinkt für das ungewöhnliche Kunstwerk. Während in der ganzen Stadt die Wogen der Empörung über den NippleJesus hochschlagen, verteidigt Dave das Bild gegen Bigotterie und Unverstand, gegen Politik und Medien – ohne zu ahnen, dass er am Ende selbst kalkulierter Teil des Kunstbetriebs werden soll. Inszenierung: Ute Liepold Es spielt: Alexander Mitterer, Musik: Vera Kropf | Jeff T. Byrd, Kunst: Sonja Gangl, Kostüm + Maske: Michaela Haag, Licht + Ton: Stefan Schweiger, Sandro Weber, Assistenz: Karin Prucha, Stephanie Sihler, Produktion: wolkenflug / Bernd Liepold-Mosser

Herwig Turk, Lucin Cutoff, 2014, Cprint auf Dibond kaschiert, Größe variable, Foto: © Herwig Turk

29.09.2016 - 08.01.2017:

Herwig Turk. Landschaft = Labor
In the exhibition Landschaft = Labor, the Carinthian Museum of Modern Art/MMKK presents for the first time – in the context of selected international artistic positions – a comprehensive show of works by Austrian artist, Herwig Turk (b 1964 in St. Veit an der Glan). Herwig Turk‘s work is based on his examination of complex scientific themes. The material culture of the high-tech laboratory is seen as a complex environment, in which the significance of the term landscape is reflected; a landscape that, between political determination and industrial instrumentalisation, becomes an experimental laboratory. Thus, the terms "laboratory" and "landscape" blend seamlessly in the exhibition. The artist dissects a variety of tales from laboratory life on the one hand, and on the other, explores civilizational connections and colonial exploitation methods within the concept of landscape. The pictorial and object worlds generated by Herwig Turk thereby refer to traditional patterns of representation, which call in question both stereotypes of landscape painting and forms of portrait painting. In the exhibition at the MMKK, Herwig Turk's work undergoes a contextual expansion, through the dialogue with works from the Museum's collection itself on the one hand, and on the other, through a selection of artworks which hark back to related artistic strategies and have a place in the scientific discourse on art. The exhibition is accompanied by an extensive catalogue with numerous pictures and contributions by Ingeborg Reichle (media theorist, Berlin and Vienna), Christian Höller (art theorist, Essayist, Vienna) and Andreas Krištof (curator, section.a), as well as a prefice by Christine Wetzlinger-Grundnig (curatorin, director MMKK) published by Verlag für moderne Kunst. Artists Herwig Turk im Dialog mit Herbert Boeckl (A) | The Center for Land Use Interpretation (US) | Thomas Feuerstein (A) | Cornelius Kolig (A) | Gerhard Lang (D) | Sonia Leimer (I) | Kira O’Reilly (GB) & Jennifer Willet (CAN) | Hannes Rickli (CH) | Meina Schellander (A) | Nicole Six/Paul Petritsch (A) | Gerhard Treml & Leo Calice (A)

Arnold Clementschitsch, Am Lido, 1941, Öl auf Holz, 63 x 45,5 cm, © MMKK, Foto: Ferdinand Neumüller

07.04.2016 - 04.09.2016:

Arnold Clementschitsch. 1887-1970
Arnold Clementschitsch (1887–1970) studied at the Academy of Fine Arts in Vienna from 1909 and from 1911 in Munich, where he made contact with the art movement "Der Blaue Reiter" [the blue rider]. In 1913, he married the Munich painter Maria Bauernschmidt and that same year his only son, Arnold, was born. From 1915 to 1918 Clementschitsch served in the army and then commuted between his residences at the Ossiacher See [lake] and Vienna. He made influential friends such as the painters Herbert Boeckl and Felix Esterl, and later the author Michael Guttenbrunner. As early as 1920, Clementschitsch stood out with his first group exhibition at the Vienna Secession. In 1928 he took part in the World Fair in Barcelona and in 1932 in the Venice Biennale. After World War II, the artist was among the founders of the Carinthian Institute of Fine Arts, which he directed until 1947. His students included Kurt Schmidt and Hans Staudacher. Clementschitsch was awarded the Grand Austrian State Prize and was also known as an author of books and literary essays. His extensive œuvre, which developed over six decades, includes portraits, nudes, landscapes, street scenes and horses, which also feature in the exhibition. As a painter, Clementschitsch was seen very much as an individualist in the Austrian context. In his work, he varied elements of Impressionism or Expressionism with New Objectivity, which certainly shows his modernity. Based on the dissertation by Leonore Lukeschitsch and in cooperation with the Museum of the Nötsch Circle (where a corresponding exhibition is showing), and according to extensive new research and archive material, a scientific catalogue of works was compiled, documenting some 900 paintings. The catalogue is being published in a monograph accompanying the exhibition and contains written contributions by Matthias Boeckl, Rosemarie Burgstaller, Sigrid Diewald, Martina Gabriel, Leonore Lukeschitsch, Heimo Strempfl and Christine Wetzlinger-Grundnig.

07.04.2016 - 04.09.2016:

fokus sammlung. MEISTERWERKE
Ab 7. April 2016 sind acht der 14 Ausstellungsräume des Museums Moderner Kunst Kärnten einer Dauerpräsentation von ausgewählten Werken der Kunstsammlung des Landes Kärnten/MMKK gewidmet. Zu sehen sind Bilder der bedeutenden Protagonisten und Protagonistinnen der Kunst in Kärnten im 19. und 20. Jahrhundert, von der Biedermeiermalerei über den Kärntner Expressionismus der Zwischenkriegszeit bis zu den avantgardistischen Strömungen nach 1945, von Markus Pernhart und den Brüdern Josef und Ludwig Willroider, dem Nötscher Kreis mit Anton Kolig, Franz Wiegele, Sebastian Isepp und Anton Mahringer; von Herbert Boeckl, Jean Egger oder Werner Berg bis Maria Lassnig, Hans Staudacher, Hans Bischoffshausen, Wolfgang Hollegha, Kurt Kocherscheidt, Bruno Gironcoli oder Kiki Kogelnik u.a.


19.11.2015 - 06.03.2016:

Peter Truschner

29.10.2015 - 08.11.2015:

Eva Paulitsch & Uta Weyrich. #CRESCENDO

28.10.2015 - 06.03.2016:

Valentin Oman. Retrospectives
Valentin Oman, one of the best-known Austrian artist personalities, was born in St. Stefan/Šteben near Villach/Beljak in 1935. He attended the Marianum Tanzenberg/Plešivec, studied painting and graphic arts at the Vienna Academy of Applied Arts, and trained in graphic reproduction with Riko Debenjak at the Academy of Fine Arts in Laibach/Ljubljana. He now lives and works in Vienna and in Finkenstein/Bekštanj in Carinthia. These retrospectives offer a review of his work over the past fifty years. His impressively extensive œuvre concentrates predominantly on painting and graphic arts, with particular emphasis on intricate, experimental expansion and combination of these artistic resources; his themes are human existence and the question of being, transience and transcendence. He has developed a distinctive pictorial vocabulary centred on the human figure and realised in exceptional techniques and evocative materials that formulate the figure as a symbol of a self-transcending metaphysical dimension. It appears, apart from traditional graphic works, in complex murals, material pictures and collages, and sculptures of metal and glass. This exhibition has collected examples ranging from the 1960s to today, including works from the Hermagoras Collection and the MMKK; there is also a variety of travel pictures and landscapes, documentations of his countless works for public space, and an installation referring to his commitment to bilingual place-names in Carinthia – a particular concern of his, since he belongs to the Slovenian ethnic group. Showing subsequently in the Vienna Künstlerhaus and the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia, the exhibition will be accompanied by a publication of 226 pages, with copious illustrations and essays by Martin Traxl, Milena Zlatar and others, in German, Slovenian and English.

04.07.2015 - 25.10.2015:

ZEITMISCHER - Johannes Domenig
(Kooperationsprojekt) Eine Zusammenschau von aktuellem Kunstschaffen und historischem Kulturgut – zeitgenössische KünstlerInnen im Dialog mit römischen Steindenkmälern aus dem Landesmuseum Kärnten Ein Kooperationsprojekt von Museum für Quellenkultur, Landesmuseum für Kärnten und Museum Moderner Kunst Kärnten

26.03.2015 - 11.10.2015:

Wolfgang Walkensteiner. next to nothing
Wolfgang Walkensteiner was born in 1949 in Klagenfurt and studied at the Academy of Fine Arts in Vienna and graduated with Max Weiler in 1973. Since 1972, he has been a member of the Carinthian Kunstverein and since 1994 of the Vienna Society of Artists. In 1976 he represented Austria at the Biennale Internationale d’Arte in Venice. Over recent decades the artist has developed an extensive heterogeneous œuvre divided into work phases which differ clearly from each other in technique as well as form. The content of his exploration is consistent. In a profound existential and ontological discourse, Wolfgang Walkensteiner probes analytically, following Martin Heidegger, the basic questions of human existence – his own as well as existence in general. This enquiry initially puts man, often his own person, then animals at the centre of his work. References are frequently to mythological figures and narratives or types common in contemporary society and their significance is universally valid. In the past decade, Walkensteiner has extended the horizon of his research beyond the created being into the micro- and macrocosmic dimension, where he explores intellectual spiritual and painterly realities in a pictorial cognitive process, in order to reveal basal structures of being in the depths of matter and the vastness of space. This results in concentrations of philosophical and psychological, rational and emotional aspects – ultimately works of his own reality, fantastical, formal constructions evincing technical mastery and impressive suggestive power. In ten rooms, the exhibition presents paintings, drawings, sculptures and installations from the past seven years, offering profound insight into his latest period of work, and demonstrating the artistic maturity, unremitting intellectual and creative power, impressive eloquence and creative enthusiasm of an unparalleled Austrian painter.

26.03.2015 - 31.05.2015:

Parallel zur Personale von Wolfgang Walkensteiner wird in den letzten drei Räumen des Ausstellungsparcours eine Selektion aus der Kunstsammlung des Landes Kärnten/MMKK vorgestellt, die inhaltlich auf die Hauptausstellung ausgerichtet ist. Unter dem Titel „fokus sammlung. BIS WALKENSTEINER“ werden einzelne Werke der bedeutendsten KünstlerInnen der Sammlung gezeigt, die als Vorläufer des Künstlers in der Kärntner Malerlandschaft des 19. sowie der ersten Hälfte des 20. Jahrhunderts anzusehen sind.


11.12.2014 - 23.12.2014:

Franz Yang-Močnik
(Buchpräsentation und Ausstellung im Foyer) VERRÜCKT. VERSPIELT. VERSCHROBEN. UNSERE SPÄTMODERNE GESELLSCHAFT | Texte und Bilder von Manfred Prisching, Bilder: Franz Yang-Močnik

27.11.2014 - 01.03.2015:

The Other Side – mirrors and reflections in contemporary art
The exhibition highlights various current aesthetic and symbolic aspects of the reflecting surface. From ancient times right up to the present day, it has been symbolically significant throughout the history of art and culture. In the ancient cultures, the mirror represents the image of the soul, offering truth and (self-) knowledge. In mediaeval European art it stands for chastity and sagacity, as well as for vanity and lust. The mystics regarded it as a sign of revelation, the Baroque as a symbol of transience. It is seen as a medium of self-perception, as a tool for egocentric self-duplication, and as a cultic object for occult evocation of paranormal powers. Its metaphorical meanings are diverse and contradictory. In contemporary art, there are many reasons for the popularity of the mirror. In an increasingly secular age, it brings into play the levels of transcendence and magic, also emphasising the aspect of narcissistic self-aggrandisement that has become a guiding social principle within the media culture of casting shows, model contests and talk shows. In the 20th century, the mirror became emancipated from an object of representation to actual material or even the subject itself. It is both vehicle and focus of philosophical and psychological study. The exhibition consists of objects and sculptures, installations, photographs, videos and films by artists including John Armleder, Pierre Bismuth, Jean Cocteau, Ira Cohen, Elmgreen & Dragset, Markus Hofer, Joan Jonas, Birgit Jürgenssen, Brigitte Kowanz, Elke Kruystufek, Friedl Kubelka, Hans Kupelwieser, Liz Larner, Inge Morath, Bruno Peinado, Norbert Pfaffenbichler, Michelangelo Pistoletto, Cindy Sherman, Gerold Tagwerker, Franz West, Markus Wilfling, Erwin Wurm and Heimo Zobernig. An exhibition by the Vienna Belvedere Curated by Edelbert Köb and Thomas Miessgang


18.09.2014 - 02.11.2014:

SHARE - Too Much History, More Future
The art project SHARE − Too Much History, MORE Future was initiated by the then Federal Ministry of Education, Art and Culture, now the culture division of the Federal ­Chan­cellery. It evolved from the spirit of the ­decade-long friendly cooperation between ­Austria and ­Bosnia-Herzegovina and is intended to strengthen this bond. With the support of the Sarajevo – Heart of Europe ­Foundation, and thus of the ­European Union, we aim to make 2014 a ­year of intensive dialogue and reconciliation with the ­distressing past, to take us into a future of solida­rity. The ­exhibition presents video works by contemporary ­artists from Bosnia-Herzegovina and Austria, dealing with a variety of personal and collective memories and posing ­questions on the past, present and ­future. The films are also available as ­video editions, and a ­scientific catalogue documents the project. The exhibi­tions, presen­tations and discussions take us to ­Sara­jevo, Trebinje, Banja Luka, Belgrade, Zagreb, Ljubljana, Vienna, Mons and ­Strasbourg. At the MMKK, these video works are juxtaposed with works from the collection of the ­Province of ­Carinthia and thus put in an expanded ­context, and re-­charged with regional content and ­­asso­cia­tions. ­ Participating artists: Gordana Anđelić-Galić, Catrin Bolt, Igor Bošnjak, Mladen Bundalo, Marina Gržinić & Aina Šmid, Ana Hoffner, Anna Jermolaewa, Adela Jušić, Šejla Kamerić, Ernst Logar, Mladen Miljanović, Hermann ­Peseckas & ­Tommy Schneider, Irena Sladoje | Birgit ­Bachmann, ­Johannes ­Domenig, Ines Doujak, ­Josef Enz, Othmar Jaindl, Maria ­Lassnig, ­Valentin Oman, Eva ­Paulitsch, ­Ferdinand ­Penker, ­Wolfgang Reichmann, Fritz Russ, ­Meina Schellander and Ernst Vollbehr. Curator: Annemarie Türk | Project management: Karin Zimmer

further information
Claus Prokop, LE TOUR – LA TOUR, Projekt anlässlich des Neubaus der Fachberufsschule für Tourismus Warmbad Villach, Durchmesser: 1,10 bis 2,20 m Höhe: 12,00 m, Unterkonstruktion: Stahl, verzinkt äußere Hülle: Aluminiumbänder, Architektur: Ma

25.06.2014 - 02.07.2014:

Claus Prokop
SOME OF THE THINGS I DID 2010-2013 (Ausstellung im Foyer und Buchpräsentation) Claus Prokop, 1966 in Klagenfurt geboren. Studium der Architektur an der TU Wien, Studium der Malerei an der Akademie der bildenden Künste Wien und an The Cooper Union New York. In den letzten Jahren, neben der Malerei und dem Bau von Objekten, vermehrt im Bereich Kunst am Bau tätig. Präsentiert werden neben dem Katalog Entwurfsmodelle und ein Multiple mit Souvenir-Charakter für LE TOUR – LA TOUR sowie die im Katalog dokumentierte Materialsammlung mit dem Titel THINGS WE NEVER DID. Der Katalog dokumentiert Projekte der letzten Jahre, unter anderem LE TOUR – LA TOUR bei der Berufsschule für Tourismus in Warmbad Villach, Projekte für das Bürgerservicezentrum Ossiach, die Lymphklinik Wolfsberg oder die ÖVAG Wien.

12.06.2014 - 31.08.2014:

Peter Krawagna was born in Klagenfurt in 1937. He studied painting at the Academy of Fine Arts in Vienna and at the École des Beaux Arts in Paris. The artist is a representative of the "abstraction of nature " – a specifically Austrian development originating with Herbert Boeckl in the 1920s. Krawagna emphasises a style of painting based on the discoveries of Modernism, and drawing on the achievements of Paul Cézanne, who renders his motifs on canvas directly from nature – en plein air – keeping as close as possible to the visual impression. Most important is the immediate impression, the optical phenomena of the moment – particularly the light conditions which significantly determine the colour perception. The aim is to create a pictorial equivalent of the motif. Peter Krawagna takes the visible aspect, everyday objects as a starting point and renders them in painting or drawing. On canvas or paper, the familiar visual object becomes an abstract composition which is no longer concerned with depicting or describing integrative form, material condition or conveying motifs through their surfaces, but rather with rendering the visual appearance of objects and specific physical phenomena. The starting-point for the artistic process is concentrated and selective perception; the result is an abstract colour-form composition. The exhibition designed for 11 rooms of the MMKK, presents works from all periods of the artist's œuvre – from the 1960s until today – and is accompanied by an specialist publication with contributions by Christian Kravagna, Peter Weiermair and Christine Wetzlinger-Grundnig.

Markus Pernhart, Gebirgslandschaft, o.D., Öl auf Holz, 66 x 105 cm ©MMKK, Foto: Ferdinand Neumüller

12.06.2014 - 31.08.2014:

fokus sammlung. BIS KRAWAGNA
Today, the art collection of the Carinthian Museum of Modern Art comprises more than 5000 works from the 19th, 20th and 21st centuries. It documents the work of Carinthian artists in a national and international context, as well as the exhibitions of the Museum. The series fokus sammlung consists of regular exhibitions featuring different aspects of the collection. Parallel to Peter Krawagna's solo exhibition, a selection of works from the Museum's collection which relate to the main exhibition, is on show in the last three rooms of the exhibition. A series of exhibitions entitled fokus sammlung. BIS KRAWAGNA shows individual works by the most significant artists who are seen as the artist's precursors in Carinthian painting of the 19th and the first half of the 20th century. Among them are members of the Viktring Artists' Circle such as Markus Pernhart as a representative of Biedermeier landscape painting and the brothers Josef and Ludwig Willroider as forerunners of Modernism, the painters from the Nötsch Circle, Anton Kolig, Franz Wiegele, Anton Mahringer and Sebastian Isepp, as well as protagonists from the inter-War period including Herbert Boeckl, Felix Esterl, Jean Egger, Arnold Clementschitsch and Werner Berg. This accompanying exhibition continually represents the Museum's collection on the one hand, and on the other presents a meaningful contribution to Peter Krawagna's exhibition, thus putting it into a broader context.

Edgar Knoop, mikado '96, Farbstelengruppen, Universität Augsburg, 1996

13.03.2014 - 25.05.2014:

Edgar Knoop 1964 - 2014
edgar knoop is artist and colour theorist. from 1972 to 2000, he taught experimental and applied colour theory at the munich academy. research into colour theory, the study of colour systems, the science of colour contrasts, the phenomenon light and light technology form the basis of his artistic work. subsequently, since the 1960s, he has continuously been building up a stringent œuvre which unites art, science and technology, using an experimental and interdisciplinary approach. colour and light determine the further development as constant aspects which manifest themselves alternately with form, space and movement in a broad spectrum of two- and three-dimensional works. the work is expressed along the lines of concrete art, op art and kinetics in the media of collage, sculpture, installation, photography, as well as on a large scale in the related disciplines of tapestry and art in public space. knoop's means are reduced and concise. they are restricted to basic pictorial elements and a clear, rational formal vocabulary. his materials and methods are modern, up to date and consistent with current scientific knowledge. the work aims at a specific effect and is based on exact planning, mathematical and technical calculation. edgar knoop combines the work of the artist with that of the researcher or engineer. he constructs works fluctuating between artistic object and technical/scientific apparatus. the exhibition and the accompanying publication provide an overview of all his creative periods. the heterogeneous works are arranged as a meaningful whole, so that their specific relevance and their overall logical connection are readily discernible. Edgar Knoop lives und works since 2002 in Seeboden / Millstätter See, Austria.


Nicole Six & Paul Petritsch, Nebel, 2007 © Bildrecht, Wien, 2013

14.11.2013 - 16.02.2014:

Nebelland hab ich gesehen* [fogland have I seen] On the relationship between art and literature
Ever since competition has existed between the arts – since antiquity – mutual interest has been manifest between the various disciplines. There are numerous examples in art history, where artists have ventured into literature and writers into art, as well as countless double talents seeking equivalent expression in their second field. There has evidently always been, besides a dialogical relationship, also an emphatic one between artists and writers committed to the same task – that of expressing an idea through an appropriate work. In this respect, art and literature can be seen as media of equal status in a common aesthetic context. Today, the arts have left traditional hierarchies behind and use the each other's potential for their own ends. Image and text move closer together, interlace and lead to an expanded and more profound representation and force of expression. One becomes a model for the other – a challenge, an impulse, an inspiration, a fund of resources. The exhibition shows 16 current artistic positions, presenting various types of dialogue between the fine arts and literature. The focus is on works originating in the fine arts, inspired and influenced by literary sources and methods. They deal in the first place with artistic strategies drawing on literature, and in the second with literary forms and expressions drawing on the fine arts. The works make use of all visual media and are included in a comprehensive overall concept in a dramaturgical context determined by visual, auditory and performative forms of representation. * Ingeborg Bachmann

Plakat Magdalena Sünderin

06.11.2013 - 23.11.2013:

Cooperation: wolkenflug im MMKK "MAGDALENA SÜNDERIN"
Magdalena Sünderin nach Lilian Faschinger. Eine siebenfache Mörderin entführt einen katholischen Priester, um in einer aberwitzigen Beichte ihr Gewissen zu erleichtern. Eine packende und komische Abrechnung mit dem Landleben, der Kirche und der unausweichlichen Katastrophe zwischen Mann und Frau, geschrieben in einer entfesselten musikalischen Sprache, zum ersten Mal für das Theater bearbeitet. Regie: Ute Liepold Mit: Jutta Fastian, Miha Kristof und Heinz Weixelbraun

03.08.2013 - 04.08.2013:

07.07.2013 - 21.07.2013:

Lori Hersberger "Totem"
skulpture and chrome steel. Installation in the courty ard of the museum of modern art carinthia, Klagenfurt. opening july 7, 2013, 11 a.m.

Reinfried Wagner, Kuscheltiere, 2003, Acryl auf Leinwand, 110 x 135 cm, Foto: Ferdinand Neumüller

20.06.2013 - 20.10.2013:

fokus sammlung 04. Tiere

further information
Jochen Traar

21.03.2013 - 02.06.2013:

ART PROTECTS YOU Jochen Traar [nichts und alles oder]
Jochen Traar was born in 1960 in Essen (Germany) and grew up in Carinthia. He studied with Bruno Gironcoli at the Academy of Fine Arts in Vienna. Despite the fact that he uses a heterogeneous and diverse range of artistic possibilities, the artist sees himself as a sculptor whose work relates to a wider concept of sculpture. His work ranges from sculptural works and installations in the conventional three-dimensional sense – usually based on simple everyday materials and objects with which he explores the conditions and resources of spatial design – to quasi social sculptures as participatory, site- and situation-specific interventions and projects in public space which is devoted fundamentally to strategy and structure in a social context. Jochen Traar approaches the socio-political reality of our life-world and his own with brilliance and humour, taking apart and analysing its patterns and relations in order to convey perceptions and experiences to the viewer. This direct involvement surprises and confuses the viewer, prompting him – even considering the entertainment value of the artistic mise-en-scène – to cast a critical eye behind the deceptive façade of private and public everyday life. The banality of the first glance proves effective, on reflection, in subtly exposing the underlying substance. The current exhibition presents various work series from the past two decades – all unusual results of an extremely unconventional artistic practice. The content of the exhibition is summarised and documented in an accompanying publication with contributions by Bernd Liepold-Mosser, Reinhard Kacianka, Andreas Krištof, Martin Kušej and Christine Wetzlinger-Grundnig.


12.12.2012 - 24.02.2013:

Fritz Steinkellner/Personale
Fritz Steinkellner (b 1942), who became known in the early 1970s with his screen prints, is one of those prominent Austrian artists who have always worked on the margins of the art world and who have continued uncompromisingly on their chosen path. Far from the current of ruling trends, Steinkellner has spent the past four decades developing a convincingly unique œuvre, the qualities of which have yet to be discovered. His extensive, complex work comprises drawing, painting, prints and object art. In various phases, the central questions of object and image, transformation and metamorphosis, ultimately of perception and cognition are examined in constantly new variants of meaning and technical execution, the artistic resources being taken to the limits of possibility. The element of transformation is central to his work. As the motif changes from one medium to another, altering the focus, an overwhelming range of expressive forms emerges. Fritz Steinkellner is seeking a means of expression suitable for exploring all the possibilities of artistic work. The intellectual consideration is examined using artistic resources and translated into a visual work. The fascinating complexity of his work integrated into a subtle system of intellectual and formal disciplines is impressively presented in the exhibition. Collected here are works from all phases of his œuvre arranged so as to demonstrate effectively and clearly not only its range and depth, beyond all boundaries of form and content, but also the essential connections between the works.

Ill.: Arnold Clementschitsch, Landschaftsstudie am Wörthersee, 1957, Öl auf Leinwand 38,5 x 52 cm © MMKK: Ferdinand Neumüller

27.09.2012 - 25.11.2012:

fokus sammlung 03. LANDSCAPE
Landscape – along with historical painting, portrait and still life – is the most important painting genre, considered in Europe as a separate genre only since the 17th century. Its historical development shows a wide range of influences and changes, always in connection with the respective representational intention, and based on changing conditions in society, politics, culture and philosophy. Landscape painting refers to the pictorial representation of the natural world, or of an excerpt thereof. Frequent motifs are scenes of plains, forests, parks, rivers, villages, towns, sea, lakes, coastal or mountain regions. These are reflected in the exhibition along with contemporary treatments of the theme, formulated in abstract painting and constructed landscapes in photography or film. The exhibition comprises some 160 works from the art collection of the Province of Carinthia/MMKK, documenting various positions in landscape renderings during the 19th, 20th and 21st centuries. They give a representative cross-section of the attributes of the collection, presenting a broad spectrum of heterogeneous artistic concepts. A separate section is devoted to the 19th century, during which the foundations were laid for the Modern Movement; it contains works by Max and Eduard von Moro, Markus Pernhart and the brothers Ludwig and Josef Willroider. Works from the 20th and 21st centuries are grouped in individual rooms, under the above-mentioned headings, offering visitors the opportunity for an enjoyable and interesting walk to experience the whole variety and potential of the genre.

21.06.2012 - 09.09.2012:

Hermann Nitsch/Personale
In an extensive solo exhibition, the Carinthian Museum of Modern Art is showing the complex and multifaceted work of Hermann Nitsch – one of the most important and controversial contemporary Austrian artists. The exhibition shows works from all the periods of the extensive yet extremely compelling œuvre, which is the culmination of the total artwork, the Theatre of Orgies and Mysteries. It refers to all disciplines and resources of sensuous expression used by the universal artist Hermann Nitsch to appeal to all five senses and combine them in an extreme overall experience, aiming towards heightening and orgiastic intensification of feeling and perception. The overview ranges from early paintings and drawings from the 1950s – in which the artist recreated representations of religious figures by historic predecessors such as Rembrandt and Tintoretto – through action paintings, splatter paintings and picture objects, right up to current paintings. Special attention is given to his graphic art, ranging from informal drawings through architectural drawings for the Theatre of Orgies and Mysteries, to his breathtaking prints. Also included are photographic and film documentations, as well as action relics, music, scriptural scores, colour spectrums and a collection of scents which complete the survey of all areas of this total artwork. 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. The majority of the works in the exhibition are the property the artist. Numerous other works are on loan from Austrian and international, public and private collections.

22.03.2012 - 03.06.2012:

Collection Sigrid and Franz Wojda. Living with Contemporary Art.
Sigrid and Franz Wojda were both born in Carinthia and settled in Vienna and Burgenland. Over the past 40 years, through informed and consistent efforts, they have acquired a considerable collection of Austrian and international abstract contemporary art – one of the most significant private collections in Austria. With 146 works by 57 artists, the current exhibition is to represent the focus of the collection which refers to conceptual, reductionist, constructive and analytical painting. The exhibited works represent the core of Sigrid and Franz Wojda's collection which comprises mainly paintings and graphics, but also sculptures, installations, animations and videos. The works range from classics of minimalist abstract painting, e.g. by Josef Albers or Robert Barry, through those of later internationally stars such as François Morellet, Helmut Federle, Günter Umberg, Imi Knoebel and Katharina Grosse, right up to Austrian artists Franz West, Heimo Zobernig, Gerwald Rockenschaub, Brigitte Kowanz, Erwin Bohatsch, Helmut Scheibl and Herbert Brandl, well-known beyond their native country. The exhibition was designed in collaboration with Sigrid and Franz Wojda and Edelbert Köb. After embarking on the project with enormous enthusiasm some two years ago, Sigrid Wojda unexpectedly fell ill and last July, during the design phase, she passed away. To our great regret, she was unable to contribute her extensive knowledge to the completion of the project, nor did she live to experience the final exhibition. As an expression of respect and appreciation, we would like to dedicate the exhibition project and this catalogue to Sigrid Wojda.


Melitta Moschik, Vektorvorlage, 2011, detail

15.12.2011 - 04.03.2012:

The title of the exhibithion alludes to the design principle of Melitta Moschik's œuvre, in which the artist takes up visual signs and codes of reality – which in today's mediatised world we use for both concrete and virtual communication – and transfers them to the context of art. Melitta Moschik takes equally into account scientific positions and everyday cultural phenomena, transforming them into objects and installations, in which the reduced formal vocabulary focuses on the essential information structures of their content. The exhibition is organised retrospectively and shows series of works from 1991 to 2011, which deal with awareness and representation of reality. The puristic works – computer-generated, rendered in industrial materials, machine-made and characterised by technological aesthetics – deal with scientific, socio-cultural and medial phenomena, and are situated in a field defined by art, new media and architecture.

further information
Mar Vicente, Cuadrado azul, 2011

22.09.2011 - 20.11.2011:

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

09.06.2011 - 04.09.2011:

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.

Annette Schröter, Wildwuchs 8, Papierschnitt 2010, Foto: Erasmus Schröter

17.03.2011 - 22.05.2011:

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.


Ferdinand Penker, Ohne Titel, 2010, 150x200 cm, Tempera auf Leinwand

16.12.2010 - 27.02.2011:

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.

Illustration: Inge Vavra, Realakt Spurensuche, 2003 (Detail), Foto: Gerhard Maurer

23.09.2010 - 28.11.2010:

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

03.06.2010 - 05.09.2010:

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, Wasserturm in Wien-Favoriten, 1930, Kunstsammlung des Landes Kärnten/MMKK

18.02.2010 - 16.05.2010:

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


01.10.2009 - 31.01.2010:

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.

Dragoljub Raša Todosijević  Gott liebt die Serben  1997/2002, Foto Nils Klinger, courtesy Sammlung Block, Moen

03.07.2009 - 13.09.2009:

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

Ausschnitt aus: Peter Zimmermann, beads 1, 2008, Epoxidharz/Leinwand, copyright Peter Zimmermann

21.03.2009 - 14.06.2009:

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.


Arnulf Rainer, Einhandschlag, 1973, Sammlung Essl

28.11.2008 - 15.02.2009:

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.

Kiki Kogelnik. Look

07.07.2008 - 02.11.2008:

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.


05.06.2008 - 29.06.2008:

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

08.05.2008 - 29.06.2008:

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)

detail from: Gerhard Richter, abstract painting, 1992, Daros Collection, Zürich

08.02.2008 - 20.04.2008:

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.


detail from: Hans Staudacher, cross figure, 1986

25.10.2007 - 20.01.2008:

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.

detail from: Mario Merz, progressione di Fibonacci, 1971

06.06.2007 - 07.10.2007:

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.

detail from: Michaela Math, more tree, 2005

23.03.2007 - 20.05.2007:

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.

detail from: Donald Baechler, flowers, 2006

23.03.2007 - 20.05.2007:

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.


detail from: Giselbert Hoke, nada 19, 2005

23.11.2006 - 25.02.2007:

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°

10.09.2006 - 05.11.2006:

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

detail from: Arnulf Rainer,micro-cosmos, 1994/95

14.06.2006 - 27.08.2006:

BIS HEUTE - Zwei Jahrhunderte moderner Kunst in Kärnten
UP TO NOW - two hundred years of modern art in Carinthia

detail from: Maria Lassnig, insects' explorer, 2003

16.02.2006 - 28.05.2006:

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.


Johann Fruhmann, green-blue composition, 1968

20.10.2005 - 22.01.2006:

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.

22.09.2005 - 22.01.2006:

In der Ausstellung steht das Verhältnis von Farbe und Raum in den unterschiedlichen Gattungen und Medien im Zentrum. Die Künstler Thomas Baumann, Hans Jacoby, Flora Neuwirth, Peter Pommerer, Robert Schaberl und Esther Stocker thematisieren und reflektieren im Rahmen ihrer aktuellen Kunstproduktion die räumliche Dimension von Farbsetzungen im Raum. Die künstlerischen Beiträge zeichnen sich allesamt durch ihre Offenheit gegenüber konventionellen Praktiken aus. Gattungsgrenzen werden aufgehoben, implizite Bildhierarchien und traditionelle Praktiken der Sinnstiftung unterlaufen und in raumbezogene formale Strukturen übertragen, die eine andere Leseart eröffnen. In den installativen Inszenierungen werden unterschiedliche Facetten von räumlichen Farbsetzungen vorgestellt: der meditative Farbraum, die bildliche Simulation einer räumlichen Ansicht, der imaginäre Raum, die raumgreifende Papiercollage, der abstrakte Raum im konkreten Raum, der immaterielle Lichtraum und der begehbare Farbraum. Die Installationen erscheinen als dreidimensionale Wahrnehmungsräume, die aufgrund der räumlich evozierten Erfahrung den Betrachter unmittelbar in das Kunstwerk einbinden.

16.06.2005 - 28.08.2005:

Georg Herold
Herold, geb. 1947 in Jena, zählt zu den erfolgreichsten deutschen Künstlern der letzten zwei Jahrzehnte. In seinen Werken besticht er durch seine individuelle und originelle Kunstpraxis, in der er sich auch kritisch und humorvoll mit den Mechanismen des Kunstsystems auseinandersetzt. Die in enger Zusammenarbeit mit dem Künstler erarbeitete Werkschau bietet erstmalig einen Überblick über das Heroldsche Oeuvre, gezeigt werden mehr als 70 Arbeiten aus den letzten zwanzig Jahren. Zur Ausstellung erscheint ein umfangreicher, reich illustrierter Katalog, der einen umfassenden Überblick über das Gesamtkunstwerk gibt. Die Ausstellung ist eine Kooperation mit der Staatlichen Kunsthalle Baden-Baden und dem Kunstverein Hannover.

16.03.2005 - 29.05.2005:

Interior View - Künstler erforschen die Sprache der Architektur
Elf internationale KünstlerInnen setzen sich mit Architektur auseinander und stellen ihre individuellen Referenzen zur Disposition. Die einzelnen Werke geben einen guten Einblick, wie Architektur subjektiv und künstlerisch wahrgenommen werden kann. Indem sich die KünstlerInnen die Formensprache der Architektur – d.h. Pläne, Modelle und Fotografien von Gebäuden – aus künstlerischer Perspektive aneignen, vereinnahmen sie formale Eigenschaften als auch Konzepte und übersetzen diese in aussagekräftige emotionale bzw. psychologische Metaphern. Einige haben sich zum Ziel gesetzt, die Erinnerung an bestimmte (selbst erlebte oder in der kollektiven Geschichte verankerte) Orte wachzurufen, andere stellen das Medium der Architektur mit seinem Vokabular und seinen Konventionen grundsätzlich in Frage. Interior View präsentiert eine Reihe von ausgewählten Arbeiten, die sich mit architektonischen Formen, der Wahrnehmung und Projektion in Form zweidimensionaler Flächen (Silke Schatz, Pascal Danz, Clare Goodwin, Catherine Yass) oder anhand der Plastizität der Skulptur (Thomas Schütte, Langlands & Bell, Toby Paterson, Monique Kwist) auseinander setzen und die Beziehung zwischen Gebäude und Mensch, zwischen räumlicher Struktur und Identität sichtbar werden lassen.

16.03.2005 - 29.05.2005:

change of view n°2
Parallel zur Ausstellung Interior View zeigt das MMKK in der zweiten Auflage der Reihe blickwechsel die Kunstankäufe 2004. Jedes Jahr werden neue Arbeiten für die Sammlung erworben. Der Ankauf erfolgt einerseits aus den Mitteln des Bundes, der sogenannten Galerienförderung, mit der Richtlinie zeitgenössische Kunst in österreichischen Galerien zu erwerben. Andererseits werden die Ankäufe über eine Ausschreibung des Landes Kärnten getätigt, wobei eine international besetzte Jury die Auswahl bestimmt. Künstlerliste Ute Aschbacher, Alexandra Brandl, Ines Doujak, Sissi Farassat, Werner Feiersinger, Peter Kogler, Robert Kummer, Maria Lassnig, Markus Orsini-Rosenberg, Hans Schabus, Nina Rike Springer, Bernhard Tragut, Maja Vukoje


25.11.2004 - 20.02.2005:

blickwechsel aus der sammlung n°1
Die Ausstellung Blickwechsel. Aus der Sammlung n°1 ist der Auftakt einer Ausstellungsreihe, die zukünftig in immer unterschiedlichen Formaten die Werke aus der Sammlung des Landes Kärnten vorstellen wird. In der ersten Auflage steht das facettenreiche Spektrum der Sammlung im Vordergrund. Der Fokus liegt auf der Kunst der Nachkriegszeit, von den 60er Jahren bis heute. Bekannte Namen wie Bruno Gironcoli, Maria Lassnig, Hermann Nitsch und Arnulf Rainer treten in einen spannungsreichen Dialog mit jungen, aktuellen Positionen wie zum Beispiel Hans Schabus, Karin Sulimma und Tanja Widmann. Die unterschiedlichen Medien, Film- und Videoinstallationen neben traditionellen Bildtechniken wie Malerei und Grafik, stellen den Moment der Betrachtung ins Zentrum und laden Sie ein, immer wieder einen Blick zu riskieren und Neues zu entdecken.

16.05.2004 - 17.10.2004:

„Eremiten-Kosmopoliten“ zeigt an vier Standorten einen Überblick und vertiefende Aspekte zur Entwicklung der modernen Malerei in Kärnten. MMKK – Museum Moderner Kunst Kärnten, Klagenfurt, Burggasse Von den Anfängen bis zum „Anschluss“ Stadtgalerie Klagenfurt, Theatergasse Vom Zweiten Weltkrieg bis zum Staatsvertrag Werner Berg-Galerie, Bleiburg Expressionismus und Melancholie: Werner Berg, Emil Nolde und die Neulandkünstler Museum des Nötscher Kreises, Nötsch im Gailtal Am Ursprung der Moderne: Kärntner Maler in Paris und am Mittelmeer Der Titel der Großausstellung bezieht sich auf die typischen Lebensverhältnisse moderner Künstler in diesem Land: Einerseits brachte das Sehnsuchtsbild einer erfolgreichen Karriere in den Weltmetropolen bedeutende Kärntner Maler wie Herbert Boeckl, Jean Egger, Maria Lassnig, Hans Staudacher oder Hans Bischoffshausen dazu, sich in Wien, Paris oder New York niederzulassen. Andererseits verführte die Verheißung einer authentischen künstlerischen Produktion in ursprünglichen Lebenswelten schon seit den Zeiten der bayerischen Brüder Willroider einige bedeutende, außerhalb Kärntens aufgewachsene Künstler wie Anton Kolig, Anton Mahringer und Werner Berg dazu, sich hier anzusiedeln. Neben diesen endgültigen Lebensentscheidungen gab es als drittes Modell typischer Kärntner Malerbiografien auch Künstler wie Franz Wiegele, Arnold Clementschitsch, Ludwig Heinrich Jungnickel, Erich Heckel, Stefan Pichler, Willibald Zunk, Reinhold Krassnig, Arnulf Rainer und Giselbert Hoke, die phasenweise oder zwischen ausgedehnten Reisen, durch kurze oder längere Lebensperioden, zur Kultivierung Kärntens als zweitem österreichischem Zentrum moderner Malerei neben Wien beitrugen. Dieses Kommen und Gehen, diese Migrationsdynamik wird auch im Corporate Design der Ausstellung durch Pfeilmotive ausgedrückt. Die Ausstellung wird von Dr. Agnes Husslein-Arco (Direktorin Museum der Moderne Salzburg) und Univ. Prof. Dr. Matthias Boeckl (Universität für angewandte Kunst Wien) kuratiert und zeigt mit über 400 Leihgaben aus zahlreichen nationalen sowie internationalen privaten und öffentlichen Sammlungen (siehe Liste) erstmals die Hauptwerke der modernen Malerei Kärntens in einem chronologisch und thematisch gegliederten Überblick.

17.02.2004 - 18.04.2004:

Sammlung Liaunig - 13 Kärntner Positionen nach 1945
Das Museum Moderner Kunst Kärnten zeigt von 17. Februar bis 18. April 2004 ausgewählte Werke von dreizehn Kärntner Künstler und Künstlerinnen aus der Sammlung Liaunig. Der renommierte Unternehmer Dkfm. Herbert Liaunig, geboren 1945 in Radenthein in Kärnten, hat in den vergangenen vier Jahrzehnten eine bemerkenswerte Kunstsammlung zusammengetragen. Mit insgesamt mehr als 2000 Werken zählt diese zu den umfangreichsten Privatsammlungen Österreichs. Der Sammlungsschwerpunkt liegt in der Kunst nach 1945, zeitgenössische Malerei, Grafik und Skulptur, vor allem österreichischer aber auch internationaler Künstler. Die zurzeit eingelagerten Arbeiten sollen in Zukunft in einem neuen Museum, das in Neuhaus in Kärnten errichtet werden soll, auf Dauer der Öffentlichkeit zugänglich gemacht werden. Quasi als Vorausschau bietet nun das Museum Moderner Kunst Kärnten erstmals einen Einblick in die private Sammlung Liaunig. Es wurden 13 Kärntner Künstler und Künstlerinnen ausgewählt, die chronologisch geordnet, jeweils in einem Raum der Ausstellung umfassend vorgestellt werden. Die Künstler und Künstlerinnen repräsentieren fundamentale Positionen der nationalen sowie der internationalen Kunstentwicklung in der zweiten Hälfte des 20. Jahrhunderts. Zu sehen sind Werke der österreichischen Nachkriegsavantgarde, von Arnulf Rainer, Maria Lassnig, Hans Staudacher und Johann Fruhmann, der Vertreter internationaler Bewegungen wie Hans Bischoffshausen, der Protagonisten spezieller österreichischer Phänomene wie etwa Wolfgang Hollegha und Kurt Kocherscheidt, Werke der Plastiker Otto Eder und Bruno Gironcoli, Rauminstallationen von Cornelius Kolig und Meina Schellander und zeitgenössische Malerei von Johann Julian Taupe und Johanes Zechner. Im Foyer des Museums Moderner Kunst Kärnten werden - Parallel zur Ausstellung - die Entwürfe für das geplante Museum Neuhaus, die von fünf geladenen Top-Architektenteams ausgearbeitet wurden und die von 5. Februar bis 11 Februar 2004 im Architekturzentrum/ Museumsquartier in Wien ausgestellt sind, präsentiert.


23.10.2003 - 31.01.2004:

0 1 2 view - Kunstankäufe 2000/01/02 im Kontext der Sammlung
Durch eine konsequente Sammlungsstrategie soll vor allem eine qualitätvolle Sammlung aufgebaut werden und eine ständige Aktualisierung des Bestandes erfolgen. Zugleich wird dadurch ein öffentlicher Bildungsauftrag wahrgenommen, das Schaffen der KünstlerInnen und die Tätigkeit der privaten Galerien – die einen fundamentalen Teil der Kulturarbeit leisten – anerkannt und gefördert. Die aktuellen Neuzugänge der Jahre 2000, 2001 und 2002, die von 37 Künstlern und Künstlerinnen angekauft wurden, werden gemeinsam mit ausgewählten Werken ausgestellt, die von den einzelnen KünstlerInnen bereits in der Sammlung des Landes Kärnten vorhanden sind. Durch dieses Konzept sollen formale und inhaltliche Bezüge zwischen den unterschiedlichen Arbeiten des eigenen Œuvres sowie zu den Werken der anderen KünstlerInnen hergestellt werden. Die Ausstellung soll die Neuerwerbungen als sinnvolle Ergänzungen und logische Erweiterungen des Bestandes darstellen. Ziel der Ausstellung ist, das hohe Niveau der Sammlung, das durch eine seriöse Ankaufstätigkeit konstant gewährleistet wird und werden soll, zu präsentieren. Nicht zuletzt sollen die Neuerwerbungen der interessierten Öffentlichkeit zugänglich gemacht und die Sensibilität für die Wahrnehmung zeitgenössischer Kunst geschärft werden. Benétik Rudi / Bogner Wolfgang / Bolt Catrin / Bressnik Heiko / Bressnik Uwe / Caroline / Cassini Theres / Druml Helga / Deutschbauer/Spring / Ebner Armin / Gironcoli Bruno / Hoke Tomas / Kampl Gudrun / Kollnitz Roland / Kos Michael / Krawagna Suse / Loitzl Ina / Maier Elke / Michenthaler Burgi / Moschik Melitta / Oman Valentin / Paulitsch Eva / Penker Ferdinand / Petschnig Maria / Pototschnik Ingrid / Reichmann Wolfgang / Russ Fritz / Schabus Hans / Schellander Meina / Schwarz Michael / Sulimma Karin / Traar Jochen / Tschachler-Nagy Gerhild / Tusch Gerold / Weiss-Richter Gertrud / Zechner Johanes / Zobernig Heimo

29.06.2003 - 05.10.2003:

Alex Katz. Cutouts
Das neu eröffnete Museum Moderner Kunst Kärnten zeigt in seiner aktuellen Sommerausstellung die Werke des bekannten amerikanischen Künstlers Alex Katz. Unbeirrt von den abstrakten Tendenzen der modernen amerikanischen Malerei geht Katz seit den 50-er Jahren konsequent seinen eigenen Weg und bleibt der realistischen, figürlichen Gestaltung treu. Und dennoch irritieren uns diese zunächst so einfach und klar wirkenden „Cutouts“ und geben Anlass dazu, die eigene Wahrnehmung der Wirklichkeit in Frage zu stellen.

Museum Moderner Kunst Kärnten • Burggasse 8 • 9020 Klagenfurt, Austria • ++43(0)50.536.34112 • office.museum@ktn.gv.at