06.03.2022 - 15.05.2022:

Bernhard Wolf. pink dust
Bernhard Wolf, born in Klagenfurt in 1965, studied with Aleksander Petlura at the Free Academy Moscow from 1992 to 1998. He is a member of the Free Academy Moscow, FOND Graz, the Carinthian Art Association, and Forum Stadtpark Graz, which he headed together with Carola Peschl from 2007 to 2010. He lives in Graz. It is in public space where Bernhard Wolf realises most of his temporary and permanent works in Austria and abroad in which he either carries out reduced interventions in the form of iconic symbols and textual messages or operates with specific materials that change and reflect the spatial situation. He interrogates visual forms of communication such as logos, advertisements, announcements, or slogans, interrupting the automatised view through minimal yet precise interventions. Familiar environments are transformed through his artistic intervention by unmaking their unambiguous attribution, which opens up new spaces of thought and experience and sets additional chains of associations into motion. For the Castle Chapel, Bernhard Wolf is using light barriers and theatrical fog to develop the light installation “pink dust”. Visitors entering the unusually empty chapel will trigger a mechanism via light barriers installed at ground level that blows theatrical fog into the room. Only this, with the fog growing thicker and thicker, slowly renders visible a seemingly floating column made of light that extends from the ground to the heaven of the illusionistically painted fake copula. The grid of light barriers that could not be made out before now stands out against the floor. After a short while, however, both column and light barriers disappear again as the fog goes away, the artistic intervention unceremoniously dissolving into thin air. Bernhard Wolf’s virtual and immaterial intervention stands in contrast, on the one hand, to the history-laden, grave sacred room: in rooms like these, one is used to ecclesiastical furnishings, and in the case of the Castle Chapel, an artistic installation visible immediately upon entering the room. His installation, by contrast, is fleeting and ephemeral. And on the other, neither the pink colour of the column nor the theatrical fog can be associated with a church room, let alone the light barriers that are more reminiscent of an alarm-protected vault. The light installation “pink dust” therefore interacts with our expectations and conventional views, questions one’s individual perception and conception, and simultaneously establishes contextual links on different intellectual, theological and metaphysical levels.


03.10.2021 - 09.01.2022:

Heliane Wiesauer-Reiterer. Was bleibt
Heliane Wiesauer-Reiterer was born in Salzburg in 1948. She grew up in Argentina and Germany, studied at the Academy of Fine Arts in Vienna with Prof. Hessing and today lives and works in Vienna and Lower Austria. From 1970 she has worked at and for the sculptors’ symposion [kunstwerk] krastal, which, following an initiative by the Austrian sculptor Otto Eder, first took place in the Krastal valley near Villach in 1967 and has since been held annually. Among other things, she organised the 42nd international sculptors’ symposion [kunstwerk] krastal in 2009, which featured an all-female list of participants. The artist’s early oeuvre is characterised by very expressive gestures which gave way over time to a more and more reduced, abstract visual language. In her drawings, paintings, sculptures, installations, and photographs, it is both on the level of content and form that Heliane Wiesauer-Reiterer focuses on the essential and elemental, with everything secondary being eliminated. Her landscapes, perceptions of space and nature, heads and figures – often in combination with the elements water, earth, fire, and air – bear witness to this consistent reduction and abstraction. Further defining factors in her work are concentration, tension and intensity, a balance between shapes and colours, and the incorporation of mostly organic materials. The environment in all its facets and the human being in its existence represent key parts of Heliane Wiesauer-Reiterer’s work. In the profaned sacred space of the Castle Chapel, the artist raises the dystopic question of what may remain of nature by creating a memorial to humankind’s destructive treatment of its living environment. She uses an installation made of charred tree fragments with added graphically reduced, large-format ink works to appeal to humankind’s conscience and moral responsibility to everything in existence.

17.06.2021 - 29.08.2021:

Elke Maier. SPACEd
Specifically for the Castle Chapel, Elke Maier is designing a spatial installation, the concept, form, and realisation process of which are inseparably linked to the authenticity of the site in all its versatility and complexity, and through which she quite consciously intervenes into the profaned sacred space. Using a simple material, finest white cotton yarn, a unique auratic interplay between light, space and matter is being created. Over the course of almost 300 hours of work, the artist is letting down hundreds of threads off the comice, tensioning them inside the room. With utmost precision, each of the tensioned threads is individually aligned and positioned inside the room until, following the ongoing realisation process, the work will eventually be finished. With a minimum of material and weight, the artist succeeds in creating voluminous spatial landscapes which can be experienced as places of contemplative being. Her works are not ad hoc interventions but are developed from the beginning in a continuous dialogue with space and light. Through the great number of threads, an abundance of light reflexions is generated. This makes threads and space perceived as not being next to each other, but within each other. Elke Maier: “I think of form not as being a boundary but a process, as the expression of traces of a movement (of light) in space.” The material is also the medium in which light manifests itself. Oscillating between visibility and invisibility, the works by Elke Maier only appear once they reflect the light: as open and transparent spaces that have no border themselves, thus creating a moment of infinity within architectural limits.


24.09.2020 - 02.05.2021:

Michael Kos. 71-MEMORY BOX
Michael Kos was born in Villach in 1963 and studied in Vienna from 1986 to 1991 at the University of Applied Arts with Peter Weibel. Today the artist lives and works in Vienna and Retz in Lower Austria. In his œuvre Michael Kos brings together questions of art, politics, society, religion, economy and morality. His artistic intention is one of critical clarification. Aspects of social reality are recurrently analysed on the basis of a political subtext. The artistic will to create follows a conceptual sculptural practice. The plastic, the constructing and building, material and space are central categories of the work. The artistic actions are often concise, and the methods are unspectacular and simple. The statement does not require a complicated, but rather a concise form. The work in the Burgkapelle is also guided by this practice. With the help of a minimalist vocabulary and linguistic signs, a sober, white, geometric space within the room is created, dedicated to the victims of the refugee tragedy that took place near Parndorf in Burgenland in August 2015. When 71 people from Syria, Iraq and Iran suffocated in agony in a blocked refrigerated truck on the way to Austria. Michael Kos creates an installation that not only recalls a still unresolved, urgently virulent problem, which in times of the pandemic has somewhat lost its socio-political focus, but which at the same time, as an artistic installation in the former baroque chapel – in the confrontation with the situational spatial conditions as well as the content of the Christian sacred space – becomes an object of diverse reflections.

21.02.2020 - 30.08.2020:

Payer Gabriel. LAST THINGS
Micha Payer, born in Wolfsberg/Carinthia in 1979, and Martin Gabriel, born in Linz 1976, now live together in Vienna and form the artist duo Payer Gabriel, who have been working together since 2000. Both studied in Vienna at the School of Artistic Photography under Friedl Kubelka, at the Academy of Fine Arts under Renée Green and at the University of Applied Arts under Brigitte Kowanz, where they graduated in 2006. Since then they have worked as freelancers and participated in numerous exhibitions at home and abroad, including Spain, France, Iran, Russia, Poland and China. Their work focuses on drawing, and particularly on civilisatory existence, its specific manifestations and its complexity. "What is the great whole, and how does it work?", "What distinguishes an order which is no longer manageable from chaos?" – these are the questions they raise, in the face of a world, with its structures and principles that are becoming increasingly complicated for both the individual and society in general. "We're interested in an aesthetic of complexity, which we attempt to illustrate by means of variation and repetition, and, using these formal-aesthetic principles, we focus on different natural and cultural phenomena that shape our existence." Thus, they describe their artistic exploration, in which – meticulously and with scientific rigour – they confront their perplexing findings on existence. "Our pictures are lists extending into infinity, starting from an idea, an object or a situation […], lists that stretch further and further, until the categories in their loose, chaotic disposition disintegrate, as of their own accord." In the Burgkapelle, Payer Gabriel respond to Josef Ferdinand Fromiller's Baroque illusion of the Christian-style heaven with a perplexing secular concept of modern-day swarms of drones as an ambiguous symbol of contemporary conditions.


17.10.2019 - 05.01.2020:

Götz Bury's Wunderkammer [chamber of curiosities] Service à la française
Götz Bury was born in Hamburg in 1960 and grew up in Taxa, Bavaria. After attending the wood sculpting school in Munich from 1983 to 1986, he continued his education in Austria, where he studied sculpting at the Academy of Applied Arts as well as philosophy at the University of Vienna. After an assistantship with Franz West, Bury advocated for his local artist colleagues as the vice president of the artists' association IG Bildende Kunst in Vienna from 1999 to 2002. His performances and exhibitions already proved popular in Germany, Switzerland and the USA, and in Austria he had been an integral part of the contemporary art scene as an intermediary between art and humour. Götz Bury's artistic work is based on the question of functionality and prestige of individual, often everyday or religious objects. As a classically trained sculptor, he works with different materials and techniques available to him at the time. The objects produced come into effect in his accompanying performances and develop their deeper significance in an interplay with the audience. In the Burgkapelle, Götz Bury installs a banquet with a difference. Inspired by the ostentatious Baroque display of splendour, the artist shows his version of a Wunderkammer gala dinner. He alienates everyday objects, converting them into sacred relics. While at first glance the objects may well be confused with the originals, Bury's work confronts visitors with the question of appearance and reality. Accompanying the exhibition are the two performances Blaue Wunder and In Fraktur gesprochen [spoken in Fraktur], taking place in the Burgkapelle. Götz Bury, who likes to present himself in his performances as a double of the legendary Paul Bocuse, i.e. as a reflection of the God of good taste, temporarily settles in the castle chapel in the MMKK with his personal Wunderkammer. Here he offers the interested public all the valuables that are necessary for a lavish banquet. A kind of show buffet as a symbol of dominance and power. The core and condensation point of this ritual meal is the ideal breakfast egg, to which Götz Bury devotes all his attention.

Gertrud Weiss-Richter. Himmelstreppe, Ausstellungsansicht MMKK Burgkapelle, 2019, Foto: Ferdinand Neumüller

21.02.2019 - 19.05.2019:

Gertrud Weiss-Richter. Stairway to heaven
Over recent decades, Gertrud Weiss-Richter has created a wide-ranging œuvre in the media of photography, object and installation art and particularly painting and graphic arts. The central theme and fundamental element in her art is geometrical form. Since her student days, she has pursued a keen interest in architecture, expressed in her work through an in-depth study of various structural forms, geometrical figures and her own artistic resources. Characteristic of her work are a minimalist vocabulary and reductive devices – very much in the spirit of a geometrical, abstract design logic developed in spatially devised concepts which put up for discussion the visual phenomena light, space and colour. The starting-point of her work lies in the inspiration derived from the material world, through visual perceptions of various buildings, churches and other historical places. These may be certain architectural forms and constellations, a singular perspective, a particular angle, or specific visual phenomena. One theme stands out in her œuvre: diverse aids to ascent, such as steps and ladders, and in particular the staircase – a striking architectural element and a historical cultural achievement of significant functionality, which plays an important symbolic and prestigeful role as a motif of grandeur in all major sacred and secular buildings, thus becoming a traditional theme in both art and literature. The staircase, in all its diverse renderings and proportions, along with the resultant formal aesthetic relations and structures, is photographed, the image then processed by computer or in painting. The motifs undergo a reductive artistic treatment which isolates them from their context, making them available for new content in a sensory, visual or philosophical dimension. In the Burgkapelle, parallel to and in communication with Josef Ferdinand Fromiller's baroque fresco of the apotheosis of St Domitian, a digitally processed photograph of a historical staircase, printed on semi-transparent fabric, hangs free in the room, allowing it to be experienced both by senses and by intellect. It shows, though not in detail, a group of people walking heavenwards in a metaphysical, spiritual aura, into a mystical light. Their path leads from the hall into the chancel, following the ascent of St Domitian, to enter directly into heavenly spheres, thus symbolically transcending into eternity, bearing the viewer with it.


Zenita Komad. 8x10^9=1, Ausstellungsansicht Burgkapelle MMKK, 2018

08.11.2018 - 20.01.2019:

Zenita Komad. 8x10^9=1
Zenita Komad was born in 1980 in Klagenfurt studied stage design and graphics with Marko Japelj at the University of Applied Arts, and mixed media with Franz Graf at the Academy of Fine Arts in Vienna. In 2004 she received a scholarship from the International Artists' House Villa Concordia in Bamberg and in 2007 the MAK Schindler Scholarship in Los Angeles. She lives and works in Ashkelon with her husband and two sons. In an installation newly created for the exhibition entitled Die Welt ist eine Illusion, the artist created a puzzle image. Komad juxtaposes the idols of St. Domitian, which according to legend he once threw into Lake Millstätter See, with a contemporary parallel world in which the soprano, accompanied by a clarinettist, sits in a bathtub and drops the idols of our time – the temples of modern times fall – he idols must make way for the main character's longing for spiritual answers. The chapel becomes a uterus in which the new human is born. The protagonist tries to make room for knowledge by washing. A 15-minute composition by Nadir Gottberg is the heart of the installation, which will be premiered at the opening. The puzzle remains upright and the picture in the picture raises new questions. But the problem is, how can we find the real world we live in and not the usual illusions?

Alina Kunitsyna, Flux-Time, 2016-2017, Öl auf Leinwand 270x270 cm, Foto: Alina Kunitsyna

08.03.2018 - 20.05.2018:

Alina Kunitsyna. Flux-Time
Alina Kunitsyna born in Minsk in 1981, grew up in Russia. After attending the Minsk Art Lyceum from 1991 until 1998 and spending a period in Prague, she continued her training at the University of Art and Design in Linz. From 2003 she studied New Media with Peter Kogler at the Vienna Academy of Fine Arts, graduating in 2007 under Constanze Ruhm. Since then she has free-lanced, working in Vienna and in Damtschach/Carinthia, and has taught at the University of Applied Arts in Vienna since 2017. Her work has already earned her many distinctions, including the Prize for Art and Digital Media from the Vienna Academy of Fine Arts, the Sponsorship Award for Fine Arts from the Province of Carinthia and the Kapsch Art Prize. Within Alina Kunitsyna's work, the theme of folds has outstanding significance. It is present in a variety of forms, in which the artist explores the question of the body – its presence and absence, its existence and its transience – in an interplay of concealment and revelation, promise, longing, seduction, fulfilment and disappointment, semblance and being. She deals with questions of perception, of seeing and visualising, which take painting beyond the traditional optical illusion, into a complex mesh of meaning and reflection. In the Burgkapelle, Alina Kunitsyna has installed a virtuosic, realistic oil painting of a blue circular fan, which takes prominence before the baroque wall fresco depicting the apotheosis of St Domitian, concealing it with ambiguous significance. The artist uses a pictorial vocabulary equivalent to that in baroque painting, in order to create a secular spiritual space parallel to the religious one of the fresco, thus relativising the historical narrative by her own means and establishing new perspectives, both physical and metaphysical.


09.11.2017 - 14.01.2018:

Markus Wilfling. Bahn
Markus Wilfling (* 1966 in Innsbruck) is among those Austrian sculptors who deal with the reality around us in a carefree, but at the same time perceptive manner. In his sculptures, installations and spatial interventions, the artist takes up perceptive phenomena which we encounter in our daily lives, but to which we pay hardly any attention as we take them for granted. By shifting contexts and making small but essential changes to form, he liberates everyday objects and materials from their conventional functions, sets associations free and shakes up our spatial perception. He materialises the immaterial such as the shadows of things, and deceives us with mirror objects or everyday objects which, through his intervention, appear to exceed our spatial boundaries. In the Burgkapelle of the Carinthian Museum of Modern Art, Markus Wilfling deals with the specific conditions of the baroque chapel, particularly with the central fresco by Josef Ferdinand Fromiller which shows the apotheosis of St. Domitian of Millstatt. This depicts the scene – as befits the baroque age – as a triumph, in dynamic rising spiral forms. In both content and form, Wilfling takes up these baroque characteristics, translating them – as always with a good helping of irony – into the “here and now” of the exhibition space; he juxtaposes the baroque upwards spirals with a race track constructed of scaffolding elements. Auguries of the past are confronted with auguries of the present.

22.06.2017 - 07.10.2017:

Gerold Tusch. Heaven on earth
In his work, Gerold Tusch (b Villach, 1969) deals primarily with historical ornamental elements from the field of decorating and arts and crafts. The traditional formal repertoire, particularly the opulent forms of Baroque and Rococo, offer the artist a rich store, from which he draws what he needs. Gerold Tusch takes objects out of their initial context and transfers them into a new, contemporary one, testing their formal and contentual effectiveness and using it for his own design ideas – he uses ceramics as a means for this. Out of clay, he produces unusual sculptural works in space which fascinate the viewer with their great sensuousness, and at the same time take effect on an intellectual level, by raising topically relevant questions. In the installation Himmel auf Erden, the artist works with cloud formations. The ornamental cloud rings are quotes from the "Silberwolke" [silver cloud], details of Baroque altars. They are distributed over the floors of the Burgkapelle. The heaven motif is fetched down to earth, thus losing its paradisiac dimension and obtaining a different meaning. It focuses the gaze – which now no longer roams over the heavens into infinity and eternity – back to earth. At the same time, viewer can walk among the cloud formations of the installation, yielding in to the illusion of wandering around higher spheres. The artists counteracts the Baroque heavenly illusion in the Burgkapelle with a contemporary version of earthly being, which merges with it to form a new unity embracing both real and spiritual levels. In the relation between heaven and earth, the beyond and the here-and-now, illusion and reality there stretches a complex field of discussion including our own position.


Sonja Gangl und Nipple Jesus

13.10.2016 - 08.01.2017:

Sonja Gangl.White Cube Jesus
Sonja Gangl, born in Graz in 1965, now lives and works in Vienna, where she studied at the Academy of Fine Arts and the University of Applied Arts. Her main media are photography, film and computer, which she combines, on a technical, formal-aesthetic and contentual level, with classical artistic genres such as painting, drawing and installation. This results in new, highly interesting and contemporary works which, through the process of transferring the motifs from one medium to another, have strong artistic definition and content. Gangl is committed to critical examination of current, socially relevant problems and the exploration of artistic resources and media, and the conceptual approach in her work is developed through strategies exciting in their sheer unconventionality, resulting in technically perfect works with a wide frame of reference and packed with meaning. Sonja Gangl’s field of action goes beyond the traditional categories, including as it does works in public space and particularly projects that take a playfully positive approach to social and economic practices. She reveals the structures, mechanisms, promises and ideals of contemporary consumer society, pointing out its seductive manipulative power and its desire for satisfaction. Her style may be described as concentrated, focused, reductive and minimalist. She places her subjects in new relationships. The work in the Burgkapelle can also be described thus. With the installation of a puristic white cuboid which may be interpreted at once as sculpture, stage-set and theatrical framework, the artist sets a White Cube in contrast to the baroque ecclesiastical space, thus providing the action of the play with a setting both real and emblematic.

Regina Hübner, Zeit/Person, Cinecittà Filmstudios, La Notte Bianca, Rom, 2006, Rauminstallation, Musik: Luca Lombardi, Foto: Enrico Realacci

21.04.2016 - 04.09.2016:

Regina Hübner. time and person
Regina Hübner was born in Villach and now lives in Rome and her birth town. She attended the Ortwein school in Graz and then studied at the Accademia di Belle Arti in Rome, from where she graduated in 1990. Since then, Regina Hübner has worked as a freelance artist in the fields of experimental photography, video and performance. In the Burgkapelle of the MMKK, the artist is showing a multimedia installation entitled time and person, designed especially for this former chapel with all its architectural features and baroque frescoes by Josef Ferdinand Fromiller. The work consists of a two-part video installation and an audio track compiled from pieces by the internationally reputed Italian composer Luca Lombardi, and rhythmically and conceptually synchronised with the visual components. time and person is a discourse on human existence. The video works deal with growth and becoming as well as passing away, eternal recurrence and the infinite flow of time. The videos are transmitted via semi-transparent image carriers, taking over the room and directly confronting the viewer and drawing him under their spell. The music and video dovetail. Between history and transience on the one hand, pre-existing through the historical setting, and the current moment on the other, marked by the instant when the viewer enters and interacts, time runs its course once more. During the exhibition, the famous Florentine flautist Roberto Fabbriciani will give a live matinee performance of the pieces by Maestro Luca Lombardi, who will himself introduce the works. Accompanying the exhibition will be a publication with texts by Arnulf Rohsmann and Christine Wetzlinger-Grundnig.


12.11.2015 - 06.03.2016:

Fabio Zolly. Rendezvous with Reality
Fabio Zolly was born in Spittal an der Drau in 1955. He studied Stage and Film Design with Erich Wonder at the University of Applied Arts in Vienna, and now lives in Vienna and Lower Austria as a freelance artist. His art is conceptual and multimedial, drawing on the content of individual elements, ephemeral phenomena and wide-ranging conditions of urban life in a globalised world characterised by mobility, regulation and capitalism. Zolly draws attention to incidentals, he investigates, comments and frequently combines generalities with the question of what art is, how mechanisms function in the art business, and to what conditions art and artists are exposed. Much emerges from his wide travels: imprints of manhole covers as historical testimonies of urban identities, photographs of clouds and shadow cast by aircraft as traces of mobility, X-rays showing the inside of travel bags as a reference to surveillance, or red and white barrier tapes marked "copyright by Fabio Zolly" in front of architectural landmarks, such as the Acropolis in Athens, as a symbol of and a question about regulation, ownership and boundaries in general, as in art. In his installation Rendezvous with Reality for the Burgkapelle of the Carinthian Museum of Modern Art, Fabio Zolly confronts the political and economic situation in his native Carinthia – in particular for the cultural sector – and, against the background of St. Domitian's ascent into heaven, he offers us a possible future scenario.

09.04.2015 - 11.10.2015:

Peter Jellitsch was born in Villach in 1982 and graduated from the University of Applied Art and the Academy of Fine Arts in Vienna. The artist works at the interfaces between science and art. His research-based working practice evolves in a complex process within virtual and analogue worlds. Central focus is to visualise what is actually invisible – virtual everyday phenomena and structures which cannot be perceived by the human eye. Peter Jellitsch is an exponent of a young generation whose perception of reality has undergone a radical change due to new technologies, quite naturally expanding thought and work processes into new dimensions. This extension of traditional boundaries and a critical observation of reality are prerequisites for the art-work and characterise the artist's interdisciplinary, integrative way of thinking as well as his methods and techniques, which are, on the one hand scientific and strictly mathematical, and on the other, absolutely artistic and formally aesthetic. Virtual space is seen as the relevant size of reality. The artist aims to establish a dialogue between virtual processes and actual physical space. The artist approaches ephemeral phenomena by means of hand drawings, converting them into analogue results by allowing concretisation of the digital information contained in the virtual sphere. This transformation engenders imposing (unprecedented) abstract images and objects. In the Burgkapelle, Peter Jellitsch takes into account the central fresco by Ferdinand Fromiller. He selects individual parts of the Baroque trompe l'œil painting – renderings of intangible content, atmospheres, moods, interpersonal connections – and confronts them with an abstract picture analysis. The specific elaborated fragments are shown in the chapel as composition sketches, drawings and objects on display tables which bring to mind study situations. The viewer then relates the transformations to the original.


zweintopf, The Flat Earth Society ( Installationsansicht), Burgkapelle des MMKK 2014, Foto: Ferdinand Neumüller, Bildrecht, Wien 2014

11.12.2014 - 01.03.2015:

zweintopf - The Flat Earth Society
zweintopf – since 2006, artist duo Eva Pichler and Gerhard Pichler have worked under a deliberately wayward name. Based in Styria, they produce site-related installations, videos, objects and art in public space, exemplifying their view of the globalised world, of political contexts, economic constraints and social phenomena. Temporary monuments and unannounced interventions are deployed to counteract increasing surveillance and (mis)use of public space for "events". In the exhibition room, off-the-shelf mass products or found objects, clichés and cultural techniques are re-interpreted within multi-media fields of association. In the Burgkapelle, the clichés of a purportedly brilliant world of commodities and media contrast with the illusionistic baroque painting and the regional canon of saints; here, besides the successful simulation of diverse worlds, it is not least a question of levelling the world. If Josef Ferdinand Fromiller attempted, using the secrets of geometry, to break through the reality of the building itself, opening up a heavenly sphere for the divine, in today's consumer society with its relatively complex world of commodities, a superficial, regularly repeated spectacle and the sham reality constructed by the media have long been sufficient to capture the attention of the individual and influence his actions. The title The Flat Earth Society is taken from a movement which, against all scientific evidence, still maintains that the Earth is actually a disc.

IN-between-SPACE, 2014, Detail, ©Bildrecht, Wien, 2014

06.04.2014 - 25.05.2014:

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


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

12.12.2013 - 16.02.2014:

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

06.11.2013 - 23.11.2013:

nach Lilian Faschinger (Theatervorstellungen in der Burgkapelle) 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.

20.06.2013 - 20.10.2013:

Luisa Kasalicky

21.03.2013 - 02.06.2013:

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


27.09.2012 - 25.11.2012:

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

21.06.2012 - 09.09.2012:

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

Hanakam & Schuller

22.03.2012 - 03.06.2012:

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


Melitta Moschik, Enlightenment, Installation MMKK Burgkapelle

15.12.2011 - 04.03.2012:

MELITTA MOSCHIK. Enlightenment

Irene Andessner / Timm Ulrichs, Last Supper MMKK , 2011

23.11.2011 - 23.11.2011:

Last Supper MMKK - Tableaux vivant after Leonardo/Ulrichs
Interactive Perofmance in the Burgkapelle Art Space MMKK

Eva Paulitsch und Uta Weyrich, true fiction

22.09.2011 - 20.11.2011:

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

Lisa Huber. KOPF.ÜBER, Tanz II (Ausschnitt), 2010, Holzschnitt auf Papier/Handabzug, Foto: Ferdinand Neumüller, VBK 2011

09.06.2011 - 04.09.2011:

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


16.12.2010 - 27.02.2011:

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

23.09.2010 - 28.11.2010:

Werner Hofmeister, Ohne Titel, 2010
installation, part of HEIMAT | DOMOVINA

03.06.2010 - 05.09.2010:

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

Marlies Liekfeld-Rapetti, Zucht, 2010, Ausstellungsansicht, Detail, Foto: Ferdinand Neumüller

18.02.2010 - 16.05.2010:

Marlies Liekfeld-Rapetti. Breeding
The elements of life – the cycle of emergence, growth and decline, most evident on the surfaces of bodies – form the central thematic framework in the art of Marlies Liekfeld-Rapetti, against the background of her life experience as a woman. The basic material for her three-dimensional work is paper. Soaked in liquid and layered, it can convey the haptic qualities, the fragility and vulnerability of skin, allowing the artist to form "skin dresses" "body shells" and "mummies". Developments in the field of molecular biology, especially the first successful cloning of a mammal, in 1996, led the artist to make a study of the possible influence on the natural processes of human life. Aldous Huxley's novel /Brave New World/ (1932), which describes the grim prospect of manipulated breeding of human beings, ultimately provided the incentive for an artistic appraisal and the creation of her amniotic sacs. In her installation entitled “Zucht” (“Breeding”) in the Burgkapelle, Marlies Liekfeld-Rapetti links the plexiglass forms with other groups of works, penetrating yet deeper into the central theme.


01.10.2009 - 31.01.2010:

Katalin Deér. House of God

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

03.07.2009 - 13.09.2009:

On Normality. Art from Serbia 1989-2001
Dragoljub Raša Todosijević: Fuxus Piano - You will never play again, 2009, Kunstraum Burgkapelle MMKK

Ausstellungsansicht, Detail: Markus Orsini-Rosenberg, Simulakrum, Burgkapelle MMKK, 2009

21.03.2009 - 14.06.2009:

Markus Orsini-Rosenberg
In his paintings, Markus Orsini-Rosenberg (b 1961, resident in Vienna and Damtschach) puts nature up for discussion as a metaphor for inwardness. Under the title Simulacrum, he has created an installation which masks the historical illusionist frescos by Josef Ferdinand Fromiller. By veiling this large-scale fresco in the apse of the former baroque church, the artist puts historical representational iconography in its place. Through this statement, he re-constitutes the historic space, drawing attention to its structural characteristics. The chapel no longer appears as a place of baroque illusionist display of power and politics, but as a place of latent recollection, where illusion and deception are transformed. Orsini-Rosenberg sets large-scale tondi between the columns of the historic architectural painting; an enormous structure made of real natural elements – he uses hazelnut bushes – serves as reference to an easel, to which a number of landscape paintings are attached. On this subsidiary level, the artist reflects the relationship of artistic appearance with reference to reality, so convincingly suggested in his painting.


Pepo Pichler: Jacob's Nightmare, 2008

28.11.2008 - 15.02.2009:

Pepo Pichler: Jacob's Nightmare
Pepo Pichler (b 1948), who commutes between St. Margarethen and San Francisco, designed the installation Jacob’s Nightmare especially for the Burgkapelle. Referring to current global political events, he stages in the former castle chapel an impressive artistic narrative of the self-generating force of Evil and dehumanising violence. In contrast to Old Testament history, Evil gains the upper hand; symbols of knowledge and insight become murder weapons, establishing the continuation of war and violence. Into the religious iconography of the chapel, Pichler nonchalantly puts the "birth table" on which the transformation process takes place. The stone which Cain once used to kill his brother Abel is transformed into a modern handgun. The ladder that once appeared to Jacob in a dream generates not knowledge, but violence, in the form of hand-grenades and machine-guns. The reliquary – a radiant glorification of war, the machinery of death – enshrines a body-bag, which every soldier carries in his rucksack.

Johannes Domenig, The Last Support, 2008; Burgkapelle Art Space, MMKK

07.07.2008 - 02.11.2008:

Johannes Domenig: The last Support
Johannes Domenig's sculpural work deals - without showing human figures itsself- with human existence. Pointing out everyday things of life in a world between consumption and chaos the artist - very sensitive regarding material and its formal and functional aspects (plastic in this case) - focuses on the problematical situation of global support , the waste of ressources, epidemics, deseases and death. The installation work in the former chapel of the castle of Klagenfurt thus is positioned between consumption as enjoyment, abbundance and yet chaos, "leaving a melancholic touch, but also subtle irony" - as the artist himself points out - on the work. Maybe even this becomes the decisive spark of hope.

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

08.02.2008 - 30.03.2008:

Deborah Sengl. On sheep and wolves
In her work " On sheep and wolves" Deborah Sengl concentrates on the contrasting pair offender/victim, linking it with behavioural research and gene technology, and making use of cultural attribution and significance of animals and human beings. Her critically provocative art construes meticulously the possibilities and impossibilities arising from the combination of differing elements. Sheep and wolf are taken as models for the visualisation of an inner and an outer struggle. Here the artist shows the sheep/wolf figures she has created over the past eight years, adapting the presentation to fit the sacred setting of the chapel.


bella ban dream. a space picture, 2007

25.10.2007 - 20.01.2008:

bella ban dream. a space picture
With her installation, bella ban (born 1958 in Klagenfurt) responds directly to the art space of the former castle chapel, transforming it into a three- dimensional, emotionally highly-charged image in which past and present, effortless lightness and deeply-felt pain, splendour and violence are linked. As an "aesthetic purist", bella ban sets great store by consistency of form and content, of subject and material. In dream. a space picture, she works with glass, a material capable of excluding matter while admitting light and view, using it both architecturally and as a metaphor.

Gudrun Kampl, velvet death, installation work in the Burgkapelle art space, 2007

22.06.2007 - 07.10.2007:

Gudrun Kampl Death in Velvet
In her spatial intervention, Gudrun Kampl (/b/ 1964) makes reference to the formerly sacred space of the "Burgkapelle", exploring with her sensuously velvety, baroque-style installation the themes of life and death. "When you think about death, you have to include life." It is the few moments of authentic encounter that constitute the essence of life and enable the experience of aesthetic dimensions at the threshold to death. Kampl's objects tell of beginning and end, of dissolution and return.

detail from: Berlinde de Bruyckere, man of sorrows V, 2006

23.03.2007 - 20.05.2007:

Berlinde De Bruyckere, Man of Sorrows
The internationally renowned belgian artist, Berlinde de Bruyckere born 1964 presents her sculpture Der Schmerzensmann in the art space Burgkapelle of the Museum of Modern Art Carinthia. In her work she translates an ecclesiastical theme into a compelling figure that suggests a distorted and fragmented human being. The ‘Man of Sorrows’ refers back to medieval iconography and creates an overwhelming impression in the surroundings of the baroque chapel.


detail from: Chiharu Shiota, during sleep, 2005

20.10.2005 - 22.01.2006:

Chiharu Shiota "during sleep"
" in my work I am seeking my own birth, where I came from. Where I come from is one of my main themes....my own Heimat, that's inside, a personal thing. Art is Heimat. And looking for it is what my art is about.....I want to be something more than language. I want to bind the body with the universe. I'm looking for how to connect my body to the universe..." Chiharu Shiota

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

17.06.2005 - 28.08.2005:

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

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