The Kultum cultural center in Graz, Austria, is marking its 50th anniversary with an ambitious exhibition titled 'God Has No Museum,' exploring how contemporary artists engage with religious themes. Curator Johannes Rauchenberger has assembled a comprehensive showcase drawing from the institution's extensive collection of over 1,000 artworks, representing a 'best-of' selection from 150 exhibitions held over the past 25 years.
The exhibition's provocative title challenges the Oxford Dictionary's definition of a museum as an institution where collections of artistically or historically valuable objects can be viewed. Despite this claim, the Kultum has indeed evolved into a museum-like institution over its five decades, building an impressive collection through donations and acquisitions that now serves as the foundation for this anniversary celebration.
Rauchenberger has made a conscious effort to include a significant number of female artists in this exploration of contemporary religious art. The exhibition features delicate interventions and subtle installations by Maaria Wirkkala, alongside Nina Schuiki's 'breathing store' and Dorothee Golz's Madonna paintings. Additional works by Zenita Komad, Nina Kovacheva, and many other female artists provide diverse perspectives on spiritual themes, offering fresh approaches to traditional religious imagery.
The representation of the crucified Jesus appears prominently throughout the exhibition, demonstrating the enduring power of this central Christian symbol in contemporary art. Visitors can view Manfred Erjautz's Jesus clock alongside Hermann Glettler's collected coffin crosses, as well as zweintopf's baroque crucifixion paintings rendered as scraped puzzle pieces. Notably, Innsbruck Bishop Johannes Glettler is also represented with an artwork in the exhibition.
The exhibition spans from biblical origins to eschatological themes, with Alois Neuhold presenting works on the Last Judgment while Adrian Paci explores angelic imagery. Lena Knilli arranges church floor plans around feminine forms, and Heribert Friedl visualizes prayers in his '100 Poems' series. Werner Reiterer contributes his promise of God's return, while Wilhelm Scherübl's existential nature studies, Zlatko Kopljar's transformations, and G.R.A.M.'s paparazzi photos all question divine presence in contemporary life. The exhibition also includes Last Supper impressions by Bettina Rheims and Serge Bramly.
A highlight of the exhibition is the newly redesigned attic space, which houses compelling works by Hannes Priesch, Guillaume Bruère, and Claudia Schink. Beyond the artwork itself, visitors are drawn to the space's remarkable architecture, which provides a unique setting for these contemporary religious explorations. The thoughtful renovation of this area demonstrates the institution's commitment to creating inspiring environments for art appreciation.
'God Has No Museum' will remain on display until February 8, 2026, giving visitors ample opportunity to experience this comprehensive survey of contemporary religious art. The exhibition successfully fulfills the Kultum's tradition of sparking discussion among visitors while celebrating the institution's significant contribution to the dialogue between contemporary art and spiritual themes over the past half-century.
