Michael Müller
"Befindlichkeiten gegen die Nullachse und anderer atmosphärischer Druck"
13. September - 25. Oktober 2008
"Befindlichkeiten gegen die Nullachse und anderer atmosphärischer Druck"
13. September - 25. Oktober 2008
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» deutsche version
Michael Müller’s new installation can be regarded as his hitherto most complex and sophisticated piece. The title already makes it clear that a friction between objective, abstract and subjective, emotional modes of describing reality exists here.
For quite some time now, the German-Indian artist Michael Müller has been dealing with the visualization of notions and facts that are difficult to grasp and yet can probably not be described in any other way than as in the form of an image.
Translation appears to be the overarching theme of most of his works. This means, quite literally, translation from one language into another – for example, the long-term project involving the transcription script "K4" which he himself developed – but also translation understood in the vein of transference, from one level of reality to another. His projects can generally be outlined as follows:
» deutsche version
Michael Müller’s new installation can be regarded as his hitherto most complex and sophisticated piece. The title already makes it clear that a friction between objective, abstract and subjective, emotional modes of describing reality exists here.
For quite some time now, the German-Indian artist Michael Müller has been dealing with the visualization of notions and facts that are difficult to grasp and yet can probably not be described in any other way than as in the form of an image.
Translation appears to be the overarching theme of most of his works. This means, quite literally, translation from one language into another – for example, the long-term project involving the transcription script "K4" which he himself developed – but also translation understood in the vein of transference, from one level of reality to another. His projects can generally be outlined as follows:
rendering abstract ideas such as mathematical functions or physical phenomena concrete and vivid; things and impressions that quickly elude the mind and can only be arduously reconstructed with its help; drawing diagonal, pointed lanes into the common understanding of reality with the axes of space and time. With his preference for drawing and writing, Müller not only makes use of two of the most common cultural techniques, he also seeks – with an extremely high degree of concentration – to bring them to the point at which, on the one hand, they again step out of the habitual sleep of what is allegedly known, as valuable means of cognition, and, on the other, visualize a "parallel axis" to the line of life, as physically finite activities consuming one's lifetime.