Solo Exhibition Ute Müller Kunstpavillon, Innsbruck 2015

Just a little away from a work composed of cryptic paintings and groups of intangible objects, as I look for a foothold and categorization, I follow a giddy reflex. Thus, I allow myself to fall into the vacant spaces of my unspoken ideas immediately, half deliberately, full of curiosity, before gaps could open up in my theories. You untitled particles, you weightless shadows, go ahead and defy the possibilities of verbal description that are agreed among us. I revolve along with you for a little while, against the light and around all the other blind spots, too. This turn moves toward euphoria about the fact that the media-prejudiced question “What is painting?” can be relativized for the benefit of a different wording: “When is painting?” If we can share painted and built reality – yet again only conditionally similar and not at all the same – with Ute Müller’s art, then we could, as an exception, rely on the fourth dimension here and now as we look on. This is a rare offer that should be used well, so we could pass a little more time in a spirit of creativity with the exhibits and interpret Müller’s form and forms instead of continuously seeking to wrest old messages or new information from her and them. (Jakob Neulinger)

(Fig.1–6)
Aluminium, steel, copper, concrete, plaster, papier-mâché, wood, foam, fabric,
plastic, cardboard, fiberboard, compound board, lacquer, various dimensions
Egg tempera on canvas, à 200 × 150 cm
Glass, acrylic lacquer, PV-foil, à 29.7 × 21 cm