Kaspar Müller at Museum im Bellpark

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Not knowing is unacceptable, and outright rejection would prove viewer's impotence, thus created an environment where artists are able to produce further and further extremes of blankness filled by those refusals to not-know, whose sensory deprivation creates phantasms, see the abyss looking back because we are doing the projecting.


See too: Kaspar Müller at Société, Kaspar Müller at Federico Vavassori

Kaspar Müller at Société

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And see here Muller inhabits the generic image of lake, Lake Zurich, and although the images are “his,” their interchangeability with any lakeside photograph known from a collective memory, produces an opaque identity; It is hard to see “Kaspar” or his subjective "hand" through the photographs "which contains things under its surface that can’t be seen. It’s like a mirror in which you search for deeper things, but just reflect yourself. One will want to read something into it, force it even, because it’s not acceptable for it to stop there. Only very hard-boiled reception would leave it there, then it would feed from disappointment and tragedy because more was expected. But one might assume there must be a dark potential. Or a twin potential. That there must be another side. If not, the rejection of any depth would almost amount to aggression." A photograph as severance, a wall between you and Kaspar like a guillotine.

See too : Kaspar Müller at Federico Vavassori , Seven Reeds at Overduin

Kaspar Müller at Federico Vavassori



It’s Zobernig tar+feathering, Julian Opie’s picto-programmatic brand, and other iconographies existing in unplaceable cultural memory. But whereas Zobernig’s genericism was a deflecting form of critique, maquettes for his fictionalized art theater, Kaspar’s direct thefts of institutionalized styles is a reflexive and perforated form of identity, accumulating a piecemeal version, forming a pile of identity rather than a package, to be sifted through rather than consumed, objects which will never become whole. The new puzzle form of art’s conceptuality.

See too: Jana Euler at Kunsthalle Zürich , Annette Kelm at Gio Marconi , Heimo Zobernig at Petzel, Krupp, Mudam , Matthew Cerletty at Office Baroque