"WER SPRICHT? WHO'S SPEAKING?", the catalogue accompanying Michael Müller’s solo exhibition premiere at the KW Institute for Contemporary Art, published at Hatje Cantz, now available!
Edited by KW Institute for Contemporary Art, Texts by Ellen Blumenstein, Travis Jeppesen, Daniel Tyradellis, graphic design by HIT Studio, Berlin, German, English
2016. 240 pp., ca. 100 ills., 18.50 x 22.00 cm, softcover, ISBN 978-3-7757-4113-2
"Skits - 13 Ausstellungen in 9 Räumen", Solo show at Staatliche Kunsthalle Baden-Baden, OPENING NIGHT: Fr 25 November 2016
To mark the reopening of its upper floor in November, 2016, the Staatliche Kunsthalle Baden-Baden will present ‘Skits – 13 Ausstellungen in 9 Räumen’ (Skits – 13 Exhibitions in 9 Rooms), a solo exhibition of the Berlin-based artist, Michael Müller. The artist engages with the human understanding of a world, in which belief in a multitude of systems, not subject to scrutiny, prevails. Questions of taste, beauty and other aesthetic attributes come to the fore. The installations, paintings, sculptures, video projections and objects serve as a medium through which Müller challenges the function of art and its attendant rites.
"A Toast to a Ghost", RAE Berlin, 17 - 30 July 2016 / curated by Jerome Chazeix, Nina Maria Küchler and Johanna Silbermann
Art. Talking Business. Forum 2017 / Michael Müller joins Advisory Board
At Pariser Platz – in the heart of the art metropolis of Berlin – art professionals from all over the world will gather to discuss topical issues concerning the market.
This may be new business models, technological developments, or even legal and insurance issues. As the participants will come together from all over the world, the networking and exchanging of experiences will be virtually unlimited. Keynote lectures and discussion panels with the best and most innovative minds in the industry will provide stimulations for further thinking.
Michael Müller at Art Basel 2016 with Galerie Thomas Schulte
"... und eine Welt noch", Kunsthaus Hamburg, 26 April - 26 June 2016 / curated by Miriam Schoofs & Katja Schroeder
Die Ausstellung "... und eine Welt noch" im Kunsthaus Hamburg nimmt das Werk der herausragenden Künstlerin Hanne Darboven (1941 – 2009) als Ausgangspunkt, um aus der Perspektive einer jüngeren internationalen KünstlerInnengeneration die Aktualität und Relevanz ihres Schaffens zu untersuchen.
Abgesehen von einigen exemplarischen Arbeiten von Darbovens Weggefährten (u. a. Almir Mavignier, Sol LeWitt und Lawrence Weiner) liegt der Fokus auf der Auswahl aktueller Positionen der zeitgenössischen Kunst, welche sich mit ähnlichen Fragestellungen und Strategien beschäftigen.
Die für Darboven charakteristische Verknüpfung von abstrakter, übergreifender Struktur und individueller Selbstverortung findet sich dabei sowohl in den Zeichenstrukturen, beispielsweise von Channa Horwitz oder Michael Müller, als auch in den Textarbeiten und Schreibsystemen von Fiona Banner, Irma Blank, Natalie Czech, den Zeitverläufen von Sigrid Sigurdsson oder der Geschichtsaneignung von Daniela Comani, Lia Perjovschi und Rayyane Tabet sowie in den Collagen des Zeitgeschehens und der Populärkultur von Isa Genzken, und Robert Heinecken oder den enzyklopädischen, materialästhetischen Ordnungssystemen von Henrik Olesen und Joëlle Tuerlinckx wieder.
"The Big Other", Galerie Tanja Wagner, Berlin, 29 January - 2 March 2016 / curated by Paula Doepfner
The big Other, le grand Autre – a term by which Jacques Lacan refers to the mother, the first big Other in the defining dyad of mother and child. She is the representative of speech, the symbolic order into which the child enters as soon as she is able to recognize herself in the mirror. In that very moment, the child becomes aware of a certain lack, the inaccessibility of the relationship. Desire arises, and in her search for truth, the child attempts to express herself, to become independent. The child wants her desires to be satisfied. She wants to incorporate the object of desire, to possess it, love it, destroy it, hate it. The gap between the child and the big Other, meaning between the child and the symbolic order, which reflects the social order, is simultaneously compelling and unbearable. It coerces the speaking subject into being creative, into experiencing the limits and possibilities of reality, of that which is outside. (Excerpt from a text by Katja Ulmer).
"INSIDE-INSIGHT" Thursday 21 January 2016, 7pm at KW Institute for Contemporary Art, Berlin
Accompanying program to the exhibition WHO’S SPEAKING? by Michael Müller: Talk between artist Michael Müller and Ellen Blumenstein, Chief Curator of KW Institute for Contemporary Art.
"WHO'S SPEAKING?", KW Institute for Contemporary Art, Berlin, 29 November 2015 - 24 January 2016
Michael Müller's first institutional solo exhibition WHO’S SPEAKING? brings together works from recent years with specifically-developed new productions, which use various ways for investigating the question of artistic authorship.
From Müller’s perspective, “who is speaking?” also means “what is being said?” and “why?” But also “who is listening?”; The exhibited works return time and again to the issue of how an artist becomes visible in his work. Each single piece stands at a pressure point between the application or transformation of historical and contemporary artistic codes, and the artist’s personal obsessions
"Zweite kleine Probe für Nietzsches Geburtstagsparty 2313", Galerie Thomas Schulte, Berlin, 16 September 2015, 6-9pm
Michael Müller will for the second time rehearse with 18 musicians and performers the birthday party for Friedrich Nietzsche 2313.
"UNTER DEM RADAR: SERGE CHARCHOUNE" at KUNSTSAELE Berlin, 17 September - 21 November 2015 / curated by Merlin James & Michael Müller
Charchoune grew up in a rural environment among the forests and waters of the Russian region Samara, in the small town of Buguruslan. From early childhood he dreamed of a life as an artist, musician or writer. Later paintings (e.g. Epiderme Paysage in this exhibition) mirror his continuing connection to nature and everything organic. Having early on visited Moscow, Paris, Barcelona and Berlin he engaged with a great number of modern art forms such as Dadaism, Cubism, Purism and Informal abstraction. Despite contributing to to these various art 'styles', all Charchoune's works show his individual traits. To him the mutual exchange of art and sensory impressions were a synaesthetic interplay. Using a wide range of methods he managed to create cross-references between language, music and painting.
"Erste kleine Probe für Nietzsches Geburtstagsparty 2313", Galerie Thomas Schulte, Berlin, 2 July 2015
Performing on or using the exhibited objects, Müller has 15 actors present musical and performative actions on the evening before the opening, entitled “Erste kleine Probe für Nietzsches Geburtstagsparty 2313”. Through the contact, the pieces are integrated into a context, which will remain even after the performance has taken place, and thus obtain a narrative charge. Contact so becomes equally a transformation, in which art objects turn to quasi objects of use and puts into question the hierarchy of things or even goes so far as to rearrange it.
The idea, which is played out in the rehearsal of the actors, to celebrate the 70th jubilee of the Habsburg Emperor Franz Joseph with a Nietzsche-year, came from Clarisse, a character from Robert Musil’s novel, The Man Without Qualities, which continuously serves Michael Müller as a point of reference throughout his exhibition cycle. The celebration, which is rejected in the novel, due to its absurdity, is now displaced by Müller into the year 2313 and thus continues Musil’s “conscious utopianism”, which comes to effect in various forms throughout the novel.
It involves sensemaking through aestheticization to optimize the freedom to think up alternatives to religion and worship of the body. Contact points are not only included in every work, whether mathematically, spiritually or physically addressed, but linked equally throughout the exhibition and as part of the whole with the cycle.
"Fire and Forget. On Violence", KW Institute for Contemporary Art, Berlin, 16 June - 30 August 2015 / curated by Ellen Blumenstein & Daniel Tyradellis
Fire and forget" comes from military jargon, and is a term for weapons systems that are no longer used in direct combat with an enemy but are launched from a safe distance. The exhibition FIRE AND FORGET. ON VIOLENCE takes the military expression as the starting point for an examination of the conventional ideas about war and force. It is oriented towards the most visible agent of violence: weapons.
"basal", Aanant & Zoo, Berlin, 21 February - 11 April 2015
The Greek origin of the word “basal“ refers to the fundamental and the basic. In medicine and anatomy, where the term is most commonly found, basal describes both minimal levels necessary for survival and the position of an organ at the root of a system or structure. In the arts, drawing has traditionally been the medium most closely associated with formulating the founding principles of a body of work, and bringing to light the elementary processes in an artists' practice. It is with pleasure that Aanant & Zoo announces basal, a group exhibition featuring drawings by 11 international artists. Not only do the works selected indicate a root investigation in each artists' practice, they also explore notions of the base or bottom from multiple and sometimes contradictory points of view.
ARCO Madrid 2015 with Galerie Thomas Schulte and Aanant & Zoo
in Artnet News