They are emaciated to the bone and bare their teeth. They approach with greedy looks, showing their ghastly claws, pointed horns, goat beards and frighteningly spread wings. Franz Kapfer lets demons dangle from the ceiling. Their eerie shadows dance between the silhouettes. The title of the work is Black Lodge; it refers to the second season of David Lynch's Twin Peaks series from the early 1990s. The "black lodge" is a dark, dangerous place. Kapfer combines thees mysterious Gates of Hell with motifs from the Rila Monastery during the Bulgarian Revival. In the extensive fresco inventory, devils appear as figurations of the deadly sins. Kapfer selects those who are forcing a purse on the viewers - corruption as a tempting vice. Kapfer swathes the demons, which are colored in the original, in deep black. He sees in them allegories of political threats, in their gestures the stirrings of growing extremism and readiness for violence in Europe.

Thomas D. Trummer, 2019 (translation: Virginia Dellenbaugh)