Past Exhibitions

Teil 5. Wartezimmer
September 6 − 19, 2013

 

Teil 6. 1913
September 6 − 19, 2013

 

Teil 7. Der Spiegel
September 21 − November 9, 2013

 

Teil 8. Gefühl und Gefüge in C oder der Moment, in dem sich der Gedanke in Form eines Gefühls ankündigt (musikalisch)
September 21 − October 5, 2013

 

Teil 9. 1913 hieß Ulrich noch anders: Eine Vorschau
October 6 − 19, 2013

 

Teil 11. Der Mont Blanc ist höher als der Mount Everest
October 22 − November 9, 2013

 



After the prologs this past April, Michael Müller’s exhibition cycle will continue at the Galerie Thomas Schulte as of September. In the course of the exhibition the show rooms will be altered repeatedly in structure and detail. Some exhibitions will only be up for several hours while others will go on for longer periods of time. The exhibition cycle in its entirety will culminate in 2014. The starting point of Michael Müller’s exhibition cycle will be Robert Musil’s novel, The Man without Qualities. More than 17 years ago Michael Müller began to translate Musil’s novel into his own system of character-codes. Müller’s system, K4, is composed of circle-segments as well as horizontal and vertical lines. To date the system consists of 400.000 single characters, each baring a separate meaning and function based on a set of ground rules accorded to their shape. Each character can – potentially – be deciphered, however in their accumulation the characters fall back to graphic forms. The wealth of meaning therefore leads to utter unintelligibility. Thus, as a whole the intent of the K4-scheme becomes devoid of purpose and extent. A large sum of Müller’s transcribed bookpages will adorn the gallery walls for the extent of the main exhibitions, along with the K4-archive documenting the origins and development of his writing-system. In front of this – sometimes visible, sometimes hidden behind a curtain – Michael Müller will re-enact exhibitions revolving around the time period of the novel, mainly the year 1913, where Robert Musil’s unfinished book begins. For this he will install works and objects by other artists and non-artists, as well as several of his own works.

 

During the first exhibition, which will only be on view the evening of the opening on Thursday, 5th of September 2013, 7 to 9 pm, the main exhibition room will not be accessible: visible only through a small gap in the entrance door. Barely audible, an art historian standing alone with the artworks will hold a speech on the concept and structure of the exhibition series. In the gallery’s vestibule, a person will in vain be sitting and awaiting entrance to the exhibition. The inaccessibility of the exhibition, which mirrors the fragmentary character of the novel and locks itself in an explicit style of reading, is thereby taken literally.

 

It is only in line with the following exhibition, beginning on 6th of September, that the main exhibition space will be made accessible. However, visitors will only be allowed entrance through a waiting room, wherefrom they will be led into the main exhibition. Along with countless folios in K4-writing, an ibis, relating to the Egyptian God Thot, the inventor of language and therewith an insinuation on Müller’s K4-system, becomes a prominent theme, just as in the exhibition’s prolog. Coincidentally, the ibis can be understood as a reference to Musil’s novel, wherein the divine twins Isis and Osiris are placed in juxtaposition to the relationship between Ulrich and his sister Agathe.

 

In the further course of the exhibition another version of Musil’s novel will be presented in addition to Michael Müller’s K4-character system, in which the third book of Musil’s novel is reproduced mirror-inverted. Just as in Müller’s translation process, the once legible text becomes a series of images, whose meaning is only generated with the help of a mirror.

 

While some works and groups of works appear but once within the course of the exhibition-series, others are continuously utilized. In time, a network of references between artworks and exhibitions will begin to unfold so that ultimately a multitude of single elements merge into one complex whole. What is being communicated is a plurality of correspondences, which are often implied but belong to a greater, more profound understanding. As a central question in his exhibition cycle, Michael Müller investigates the accessibility of art. In the Musilian sense of digressing from the classical literary concept to the linear narrative structure, Müller too purposely goes against the expectations of his audience. The preliminary and unfinished nature of Musil’s novel-fragment, as well as the impossibility of reaching a precise interpretation thus becomes the mirror of Michael Müller’s exhibition.

K4-Schriftblätter, 1995/2005
pencil, felt-tip-pen, pen, ink and fiber pen on squared paper
900-part work, 32.2 x 23.5 x 2 cm | 12 2/3 x 9 1/4 x 3/4 in each
Inquire
Spiegelwächter, 2013
scarlet Ibis on stucco pedestal,
framed photograph
32 x 23 cm | 12 1/2 x 9 in
K4, 2013
plaster and stucco
104 x 61 x 61 cm | 41 x 24 x 24 in
Inquire
Ein höchster Berg, 2013
plaster and stucco
112 x 100 x 100 cm | 44 x 39 1/3 x 39 1/3 in
Inquire
Tiefster Punkt, 2013
plaster and stucco
101 x 103 x 103 cm | 39 3/4 x 40 1/2 x 40 1/2 in
Inquire
Spiegelberg, 2013
plaster and stucco
350 x 40 x 40 cm | 137 3/4 x 15 3/4 x 15 3/4 in
MMUE/GTS 102
Inquire
Die Irren begrüßen Clarisse (Kap. 33) Hallenser Studie, 2013
45-part work, pencil and red crayon on squared paper
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Inquire
Heiliger Berg, 2013
plaster and stucco, drawing
Mountain dim.: 95 x 40 x 40 cm
Drawing dim.: 94,5 x 73,5 cm
Matterhorn, 2013
plaster and stucco
81.99 x 50.01 x 50.01 cm | 32 1/4 x 19 2/3 x 19 2/3 in
Inquire
Mount Kea Hawaii, 2013
plaster and stucco
104 x 84 x 64 cm | 41 x 33 x 25 1/4 in
MMUE/GTS 101
Inquire
Jugendfreunde (Kap. 14), 2013
25-part work, pencil on squared paper and ink
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Inquire
Heiliger Ibis, 2013
Egyptian sacred ibis on stucco base, framed photo
156 x 62 x 25 cm | 61 1/2 x 24 1/2 x 9 3/4 in
Olymp, 2013
plaster and stucco
142 x 40 x 40 cm | 56 x 15 3/4 x 15 3/4 in
Inquire
Wenn es Wirklichkeitssinn gibt, muß es auch Möglichkeitssinn geben (Kap. 4), 2013
11-part work, pencil on squared paper, red and green pen behind different colored plexiglass "red green Radon"
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Moosbrugger tanzt (Kap. 87), 2013
18-part work, pencil, red pen behind different colored plexiglass
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
C-Notizen, 2013
44-part work, pencil and ink on squared paper
Each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Spiegelwächter (Subjekt/Objekt), 2013
scarlet Ibis on stucco pedestal, framed photograph
32 x 23 cm | 12 1/2 x 9 in
Monatsbildschrift für den juristisch interessierten Leserkreis - (Ausgabe - Mai 1913), 2013
12-part work, ink on different paper
dimensions variable
Inquire
1913 (Parallelogrammzeichnungen), 2013
8-part work, pencil on pink paper
34 x 47 cm | 13 1/2 x 18 1/2 in
Inquire
Ins Tausendjährige Reich, DRITTER TEIL (Die Verbrecher), 2013
1000 book blocks, mirror
dimensions variable
Inquire
Der Spalt, 2013
wood and synthetic leather
131 x 75.5 x 10 cm dimensions variable
Inquire
Ein fast perfektes Bild (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint and white curtain
185 x 364.5 x 9 cm | 72 3/4 x 143 1/2 x 3 1/2 in
Üben (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint and green curtain
184.5 x 123 x 9 cm | 72 2/3 x 48 1/2 x 3 1/2 in
Ulrich, Agathe, Anders, 2013
plaster, painted
163 x 23.5 x 27 cm | 64 1/4 x 9 1/4 x 10 2/3 in
3 schöne Fehler (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint and green curtain
123 x 184.5 x 9 cm | 48 1/2 x 72 2/3 x 3 1/2 in
Große Korrektur (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint on canvas and white curtain
185 x 364.5 x 9 cm | 72 3/4 x 143 1/2 x 3 1/2 in

Teil 5. Wartezimmer
September 6 − 19, 2013

 

Teil 6. 1913
September 6 − 19, 2013

 

Teil 7. Der Spiegel
September 21 − November 9, 2013

 

Teil 8. Gefühl und Gefüge in C oder der Moment, in dem sich der Gedanke in Form eines Gefühls ankündigt (musikalisch)
September 21 − October 5, 2013

 

Teil 9. 1913 hieß Ulrich noch anders: Eine Vorschau
October 6 − 19, 2013

 

Teil 11. Der Mont Blanc ist höher als der Mount Everest
October 22 − November 9, 2013

 



After the prologs this past April, Michael Müller’s exhibition cycle will continue at the Galerie Thomas Schulte as of September. In the course of the exhibition the show rooms will be altered repeatedly in structure and detail. Some exhibitions will only be up for several hours while others will go on for longer periods of time. The exhibition cycle in its entirety will culminate in 2014. The starting point of Michael Müller’s exhibition cycle will be Robert Musil’s novel, The Man without Qualities. More than 17 years ago Michael Müller began to translate Musil’s novel into his own system of character-codes. Müller’s system, K4, is composed of circle-segments as well as horizontal and vertical lines. To date the system consists of 400.000 single characters, each baring a separate meaning and function based on a set of ground rules accorded to their shape. Each character can – potentially – be deciphered, however in their accumulation the characters fall back to graphic forms. The wealth of meaning therefore leads to utter unintelligibility. Thus, as a whole the intent of the K4-scheme becomes devoid of purpose and extent. A large sum of Müller’s transcribed bookpages will adorn the gallery walls for the extent of the main exhibitions, along with the K4-archive documenting the origins and development of his writing-system. In front of this – sometimes visible, sometimes hidden behind a curtain – Michael Müller will re-enact exhibitions revolving around the time period of the novel, mainly the year 1913, where Robert Musil’s unfinished book begins. For this he will install works and objects by other artists and non-artists, as well as several of his own works.

 

During the first exhibition, which will only be on view the evening of the opening on Thursday, 5th of September 2013, 7 to 9 pm, the main exhibition room will not be accessible: visible only through a small gap in the entrance door. Barely audible, an art historian standing alone with the artworks will hold a speech on the concept and structure of the exhibition series. In the gallery’s vestibule, a person will in vain be sitting and awaiting entrance to the exhibition. The inaccessibility of the exhibition, which mirrors the fragmentary character of the novel and locks itself in an explicit style of reading, is thereby taken literally.

 

It is only in line with the following exhibition, beginning on 6th of September, that the main exhibition space will be made accessible. However, visitors will only be allowed entrance through a waiting room, wherefrom they will be led into the main exhibition. Along with countless folios in K4-writing, an ibis, relating to the Egyptian God Thot, the inventor of language and therewith an insinuation on Müller’s K4-system, becomes a prominent theme, just as in the exhibition’s prolog. Coincidentally, the ibis can be understood as a reference to Musil’s novel, wherein the divine twins Isis and Osiris are placed in juxtaposition to the relationship between Ulrich and his sister Agathe.

 

In the further course of the exhibition another version of Musil’s novel will be presented in addition to Michael Müller’s K4-character system, in which the third book of Musil’s novel is reproduced mirror-inverted. Just as in Müller’s translation process, the once legible text becomes a series of images, whose meaning is only generated with the help of a mirror.

 

While some works and groups of works appear but once within the course of the exhibition-series, others are continuously utilized. In time, a network of references between artworks and exhibitions will begin to unfold so that ultimately a multitude of single elements merge into one complex whole. What is being communicated is a plurality of correspondences, which are often implied but belong to a greater, more profound understanding. As a central question in his exhibition cycle, Michael Müller investigates the accessibility of art. In the Musilian sense of digressing from the classical literary concept to the linear narrative structure, Müller too purposely goes against the expectations of his audience. The preliminary and unfinished nature of Musil’s novel-fragment, as well as the impossibility of reaching a precise interpretation thus becomes the mirror of Michael Müller’s exhibition.

Works in Exhibition

K4-Schriftblätter, 1995/2005
pencil, felt-tip-pen, pen, ink and fiber pen on squared paper
900-part work, 32.2 x 23.5 x 2 cm | 12 2/3 x 9 1/4 x 3/4 in each
Inquire
Spiegelwächter, 2013
scarlet Ibis on stucco pedestal,
framed photograph
32 x 23 cm | 12 1/2 x 9 in
K4, 2013
plaster and stucco
104 x 61 x 61 cm | 41 x 24 x 24 in
Inquire
Ein höchster Berg, 2013
plaster and stucco
112 x 100 x 100 cm | 44 x 39 1/3 x 39 1/3 in
Inquire
Tiefster Punkt, 2013
plaster and stucco
101 x 103 x 103 cm | 39 3/4 x 40 1/2 x 40 1/2 in
Inquire
Spiegelberg, 2013
plaster and stucco
350 x 40 x 40 cm | 137 3/4 x 15 3/4 x 15 3/4 in
MMUE/GTS 102
Inquire
Die Irren begrüßen Clarisse (Kap. 33) Hallenser Studie, 2013
45-part work, pencil and red crayon on squared paper
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Inquire
Heiliger Berg, 2013
plaster and stucco, drawing
Mountain dim.: 95 x 40 x 40 cm
Drawing dim.: 94,5 x 73,5 cm
Matterhorn, 2013
plaster and stucco
81.99 x 50.01 x 50.01 cm | 32 1/4 x 19 2/3 x 19 2/3 in
Inquire
Mount Kea Hawaii, 2013
plaster and stucco
104 x 84 x 64 cm | 41 x 33 x 25 1/4 in
MMUE/GTS 101
Inquire
Jugendfreunde (Kap. 14), 2013
25-part work, pencil on squared paper and ink
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Inquire
Heiliger Ibis, 2013
Egyptian sacred ibis on stucco base, framed photo
156 x 62 x 25 cm | 61 1/2 x 24 1/2 x 9 3/4 in
Olymp, 2013
plaster and stucco
142 x 40 x 40 cm | 56 x 15 3/4 x 15 3/4 in
Inquire
Wenn es Wirklichkeitssinn gibt, muß es auch Möglichkeitssinn geben (Kap. 4), 2013
11-part work, pencil on squared paper, red and green pen behind different colored plexiglass "red green Radon"
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Moosbrugger tanzt (Kap. 87), 2013
18-part work, pencil, red pen behind different colored plexiglass
each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
C-Notizen, 2013
44-part work, pencil and ink on squared paper
Each: 32 x 23.5 cm | 12 2/3 x 9 1/4 in
Spiegelwächter (Subjekt/Objekt), 2013
scarlet Ibis on stucco pedestal, framed photograph
32 x 23 cm | 12 1/2 x 9 in
Monatsbildschrift für den juristisch interessierten Leserkreis - (Ausgabe - Mai 1913), 2013
12-part work, ink on different paper
dimensions variable
Inquire
1913 (Parallelogrammzeichnungen), 2013
8-part work, pencil on pink paper
34 x 47 cm | 13 1/2 x 18 1/2 in
Inquire
Ins Tausendjährige Reich, DRITTER TEIL (Die Verbrecher), 2013
1000 book blocks, mirror
dimensions variable
Inquire
Der Spalt, 2013
wood and synthetic leather
131 x 75.5 x 10 cm dimensions variable
Inquire
Ein fast perfektes Bild (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint and white curtain
185 x 364.5 x 9 cm | 72 3/4 x 143 1/2 x 3 1/2 in
Üben (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint and green curtain
184.5 x 123 x 9 cm | 72 2/3 x 48 1/2 x 3 1/2 in
Ulrich, Agathe, Anders, 2013
plaster, painted
163 x 23.5 x 27 cm | 64 1/4 x 9 1/4 x 10 2/3 in
3 schöne Fehler (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint and green curtain
123 x 184.5 x 9 cm | 48 1/2 x 72 2/3 x 3 1/2 in
Große Korrektur (Leere & Lehre), 2013
white acrylic lacquer, green chalkboard paint on canvas and white curtain
185 x 364.5 x 9 cm | 72 3/4 x 143 1/2 x 3 1/2 in

Inquire

TO LEARN MORE ABOUT THIS ARTWORK,
PLEASE PROVIDE YOUR CONTACT INFORMATION