Past Exhibitions

Erste kleine Probe für Nietzsches Geburtstagsparty 2313
Not open to the public: July 2, 2015, 6–9 pm

 

Teil 13. Berührung
July 4 – September 12, 2015

 

Teil 14. Die Welt interessiert sich nicht für den Sinn (Window Space)
July 4 – September 19, 2015

 

Teil 15. Nachspiel: Wesen und Inhalt einer großen Idee
September 14 – 19, 2015

 

Zweite kleine Probe für Nietzsches Geburtstagsparty 2313
September 16, 2015, 6–9 pm

 

 

 

Michael Müller’s exhibitions “Berührung” in the main space of the gallery and “Die Welt interessiert sich nicht für den Sinn” in the Window Space are the continuation of his 18-part exhibition cycle, which he began in 2013 at Galerie Thomas Schulte.

 

Anew, the artist creates a multimedia cosmos on the basis of a dense system of references.  As the title of one of the exhibitions reveals, it is about “Berührung” (contacts). The panorama of objects, pictures, and installations encompasses not only material and immaterial shapes or real and unreal, but also the profane, as well as the sacred ideas of making contact. The relationship between Lou Salomé, Nietzsche, and Paul Rée (in all constellations) is addressed as a contact as is Descartes’ theorem, which allows three kissing or mutually tangent circles to construct a fourth tangent circle.

 

The, perhaps, most simple form of contact, to literally touch, is embodied by the sand under the feet of the audience, which covers the entire surface of the exhibition space. Heating lamps warm the skin of the spectators and the ceramic objects distributed in the sand appear to be like shells on the beach, which are to be discovered and unearthed. Next to an explicit drawing of sexual penetration, plastic chairs are stacked into a tower.

 

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.

 

Michael Müller, born 1970 in Ingelheim on the Rhine, lives and works in Berlin. He studied sculpting and fine arts at the Kunstakademie in Düsseldorf with Magdalena Jetelová. Alongside numerous gallery exhibitions, Müller has participated in many institutional group exhibitions in the past ten years in Germany and elsewhere, for instance at the Kunsthaus Dresden (2012) and at the Kunst- und Ausstellungshalle der Bundesrepublik in Bonn (2013). In 2014 his work, among others, was presented in the Des Moines Art Center in Iowa and the Winzavod Center for Contemporary Art in Moscow. Currently, he is participating in the goup show “Fire and Forget. On Violence” at KW Institute of Contemporary Art in Berlin (until August 30th, 2015).

Installation view "Berührung"

Installation view "Berührung"

Installation view "Berührung"

Tageswerk, 2015
ceramic
56 x 240 x 120 cm | 22 x 94 1/2 x 47 1/4 in
MMUE/GTS 236

Fünf Monde, 2015
5 slide projectors and household ladder
102 x 45 x 74 cm | 40 1/4 x 17 3/4 x 29 1/4 in
Inquire
Eincremen, 2015
lacquer on aluminum
dimensions variable
Inquire
Distanzen, 2015
gesso and acrylic lacquer on Belgian canvas
240 x 340 cm | 94 1/2 x 133 3/4 in
Inquire
Pending, 2015
lead, sand, graphite, spit, lacquer
(1x) 33.5 x 25.5 x 2.5 cm
(1x) 30 x 20.6 x 2.5 cm
(2x) 80 x 17 x 13.5 cm
Inquire
Alexander, (Kontakt), 2015
plaster, lacquer and nails
35 x 39.5 x 6.5 cm | 13 3/4 x 15 1/2 x 2 1/2 in
Inquire
Nietzsche 2313, 2015
pencil and acrylic lacquer on grey cardboard
48 x 35.5 x 3 cm | 19 x 14 x 1 1/4 in
I´ll fuck with my boyfriend in the shower. Die Verbindung zweier Momente durch einen Vorgang, 2015
clear lacquer on glass, wood and textile
(2x) 64,5 x 39,5 x 5 cm | 25 1/4 x 15 1/2 x 2 in (glass)
120 x 4 x 4 cm | 47 1/4 x 1 1/2 x 1 1/2 in (wood)
Tageswerk, 2015
ceramic
56 x 240 x 120 cm | 22 x 94 1/2 x 47 1/4 in
im Wald, 2015
pencil on paper
41.5 x 52.5 x 3.5 cm | 16 1/3 x 20 2/3 x 1 1/3 in
Übung, 2015
glass, sand, heating lamp and wood
dimensions variable
Inquire
Trinken, 2015
ceramic, steel, enamel
79 x 81 x 39.5 cm | 31 x 32 x 15 1/2 in
Inquire
Vier-Kreise-Satz von Descartes, 2015
acrylic lacquer on white wall
dimensions variable
Inquire
Pool Boys, 2015
steel and lacquer
(2x) 254 x 60 x 4 cm
Das ist mir lieb, 2015
pencil on paper behind neon-colored plexiglas
31 x 22 x 2.5 cm | 12 1/4 x 8 2/3 x 1 in
White Matter - Beziehungen, 2015
2-part work, pencil on pink paper
(1x) 31 x 22 x 3 cm
(1x) 22 x 31 x 3 cm
Westend-Klinik am Spandauer Damm, Charlottenburg. "Ich trage dich wie eine Wunde - auf meiner Stirn, die sich nicht schließt - Sie schmerzt nicht immer. Und es fließt - das Herz sich nicht draus tot. - Nur manchmal plötzlich bin ich blind und spüre - Blut in Munde", 2014 / 2015
ceramic and operating table stand
77 x 205 x 92 cm | 30 1/3 x 80 2/3 x 36 1/4 in
Inquire
Auf Zug, 2015
acrylic lacquer on canvas, steel, plaster, varnish
(1x) 247 x 180 x 43 cm
(1x) 35.5 x 41.5 x 7 cm
(1x) 18 x 22 x 6 cm
Inquire
liegen, 2015
plaster, lacquer, steel and ropes
dimensions variable
aufeinander, 2015
acrylic lacquer, feathers and cotton
40 x 54 x 50.5 cm | 15 3/4 x 21 1/4 x 20 in
Inquire
Dispositionen, 2015
acrylic lacquer, tension belts and mattress
77 x 150 x 90 cm | 30 1/3 x 59 x 35 1/2 in
Inquire
sitzen, 2015
wood and lacquer
37 x 24 cm | 14 1/2 x 9 1/2 in
Inquire
Auf Zungenspitze, 2015
acrylic lacquer
12 x 13 cm | 4 3/4 x 5 in
Inquire
Liebe Mütter, liebe Väter, 2015
baby bodysuit, acrylic lacquer, expander
220 x 174 x 7 cm | 86 2/3 x 68 1/2 x 2 3/4 in
Inquire
Ein Nagel tut´s auch, 2015
wood, 2 nails
(1x) 47 x 42 x 9,5 cm, (1x) 6,5 cm, (1x) 5 cm
Inquire
Falscher Inder, 2015
2 marble columns, steel ball, milk
2x Marble columns - 100 x 20 x 20 cm each
1x 1lt Milk
Installation dimensions variable
Inquire
  • Artist Profile
  • Works in Exhibition
  • Erste kleine Probe für Nietzsches Geburtstagsparty 2313
    Not open to the public: July 2, 2015, 6–9 pm

     

    Teil 13. Berührung
    July 4 – September 12, 2015

     

    Teil 14. Die Welt interessiert sich nicht für den Sinn (Window Space)
    July 4 – September 19, 2015

     

    Teil 15. Nachspiel: Wesen und Inhalt einer großen Idee
    September 14 – 19, 2015

     

    Zweite kleine Probe für Nietzsches Geburtstagsparty 2313
    September 16, 2015, 6–9 pm

     

     

     

    Michael Müller’s exhibitions “Berührung” in the main space of the gallery and “Die Welt interessiert sich nicht für den Sinn” in the Window Space are the continuation of his 18-part exhibition cycle, which he began in 2013 at Galerie Thomas Schulte.

     

    Anew, the artist creates a multimedia cosmos on the basis of a dense system of references.  As the title of one of the exhibitions reveals, it is about “Berührung” (contacts). The panorama of objects, pictures, and installations encompasses not only material and immaterial shapes or real and unreal, but also the profane, as well as the sacred ideas of making contact. The relationship between Lou Salomé, Nietzsche, and Paul Rée (in all constellations) is addressed as a contact as is Descartes’ theorem, which allows three kissing or mutually tangent circles to construct a fourth tangent circle.

     

    The, perhaps, most simple form of contact, to literally touch, is embodied by the sand under the feet of the audience, which covers the entire surface of the exhibition space. Heating lamps warm the skin of the spectators and the ceramic objects distributed in the sand appear to be like shells on the beach, which are to be discovered and unearthed. Next to an explicit drawing of sexual penetration, plastic chairs are stacked into a tower.

     

    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.

     

    Michael Müller, born 1970 in Ingelheim on the Rhine, lives and works in Berlin. He studied sculpting and fine arts at the Kunstakademie in Düsseldorf with Magdalena Jetelová. Alongside numerous gallery exhibitions, Müller has participated in many institutional group exhibitions in the past ten years in Germany and elsewhere, for instance at the Kunsthaus Dresden (2012) and at the Kunst- und Ausstellungshalle der Bundesrepublik in Bonn (2013). In 2014 his work, among others, was presented in the Des Moines Art Center in Iowa and the Winzavod Center for Contemporary Art in Moscow. Currently, he is participating in the goup show “Fire and Forget. On Violence” at KW Institute of Contemporary Art in Berlin (until August 30th, 2015).

    Works in Exhibition

    Fünf Monde, 2015
    5 slide projectors and household ladder
    102 x 45 x 74 cm | 40 1/4 x 17 3/4 x 29 1/4 in
    Inquire
    Eincremen, 2015
    lacquer on aluminum
    dimensions variable
    Inquire
    Distanzen, 2015
    gesso and acrylic lacquer on Belgian canvas
    240 x 340 cm | 94 1/2 x 133 3/4 in
    Inquire
    Pending, 2015
    lead, sand, graphite, spit, lacquer
    (1x) 33.5 x 25.5 x 2.5 cm
    (1x) 30 x 20.6 x 2.5 cm
    (2x) 80 x 17 x 13.5 cm
    Inquire
    Alexander, (Kontakt), 2015
    plaster, lacquer and nails
    35 x 39.5 x 6.5 cm | 13 3/4 x 15 1/2 x 2 1/2 in
    Inquire
    Nietzsche 2313, 2015
    pencil and acrylic lacquer on grey cardboard
    48 x 35.5 x 3 cm | 19 x 14 x 1 1/4 in
    I´ll fuck with my boyfriend in the shower. Die Verbindung zweier Momente durch einen Vorgang, 2015
    clear lacquer on glass, wood and textile
    (2x) 64,5 x 39,5 x 5 cm | 25 1/4 x 15 1/2 x 2 in (glass)
    120 x 4 x 4 cm | 47 1/4 x 1 1/2 x 1 1/2 in (wood)
    Tageswerk, 2015
    ceramic
    56 x 240 x 120 cm | 22 x 94 1/2 x 47 1/4 in
    im Wald, 2015
    pencil on paper
    41.5 x 52.5 x 3.5 cm | 16 1/3 x 20 2/3 x 1 1/3 in
    Übung, 2015
    glass, sand, heating lamp and wood
    dimensions variable
    Inquire
    Trinken, 2015
    ceramic, steel, enamel
    79 x 81 x 39.5 cm | 31 x 32 x 15 1/2 in
    Inquire
    Vier-Kreise-Satz von Descartes, 2015
    acrylic lacquer on white wall
    dimensions variable
    Inquire
    Pool Boys, 2015
    steel and lacquer
    (2x) 254 x 60 x 4 cm
    Das ist mir lieb, 2015
    pencil on paper behind neon-colored plexiglas
    31 x 22 x 2.5 cm | 12 1/4 x 8 2/3 x 1 in
    White Matter - Beziehungen, 2015
    2-part work, pencil on pink paper
    (1x) 31 x 22 x 3 cm
    (1x) 22 x 31 x 3 cm
    Westend-Klinik am Spandauer Damm, Charlottenburg. "Ich trage dich wie eine Wunde - auf meiner Stirn, die sich nicht schließt - Sie schmerzt nicht immer. Und es fließt - das Herz sich nicht draus tot. - Nur manchmal plötzlich bin ich blind und spüre - Blut in Munde", 2014 / 2015
    ceramic and operating table stand
    77 x 205 x 92 cm | 30 1/3 x 80 2/3 x 36 1/4 in
    Inquire
    Auf Zug, 2015
    acrylic lacquer on canvas, steel, plaster, varnish
    (1x) 247 x 180 x 43 cm
    (1x) 35.5 x 41.5 x 7 cm
    (1x) 18 x 22 x 6 cm
    Inquire
    liegen, 2015
    plaster, lacquer, steel and ropes
    dimensions variable
    aufeinander, 2015
    acrylic lacquer, feathers and cotton
    40 x 54 x 50.5 cm | 15 3/4 x 21 1/4 x 20 in
    Inquire
    Dispositionen, 2015
    acrylic lacquer, tension belts and mattress
    77 x 150 x 90 cm | 30 1/3 x 59 x 35 1/2 in
    Inquire
    sitzen, 2015
    wood and lacquer
    37 x 24 cm | 14 1/2 x 9 1/2 in
    Inquire
    Auf Zungenspitze, 2015
    acrylic lacquer
    12 x 13 cm | 4 3/4 x 5 in
    Inquire
    Liebe Mütter, liebe Väter, 2015
    baby bodysuit, acrylic lacquer, expander
    220 x 174 x 7 cm | 86 2/3 x 68 1/2 x 2 3/4 in
    Inquire
    Ein Nagel tut´s auch, 2015
    wood, 2 nails
    (1x) 47 x 42 x 9,5 cm, (1x) 6,5 cm, (1x) 5 cm
    Inquire
    Falscher Inder, 2015
    2 marble columns, steel ball, milk
    2x Marble columns - 100 x 20 x 20 cm each
    1x 1lt Milk
    Installation dimensions variable
    Inquire

    Inquire

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