Galería Ehrhardt Flórez

Exhibitions

Group Show

Christopher Muller / Claus Goedicke

18/06/1998 - 15/09/1998
Christopher Muller, Claus Goedicke (1998), installation view.
Christopher Muller, Claus Goedicke (1998), installation view.
Christopher Muller, Claus Goedicke (1998), installation view.
Christopher Muller, Claus Goedicke (1998), installation view.

For its second exhibition, Heinrich Ehrhardt Gallery presents the artists Claus Goedicke and Christopher Muller. The exhibition takes place within the development of PhotoEspaña 98.

Both artists were born in Germany in the same year, 1966, but Muller soon moved to London and studied between London and Düsseldorf. Now he studies and lives between the two cities. Goedicke currently lives in Cologne.

Goedicke and Muller invite us to take a closer look at household objects with which we believe we can be totally familiar. What these artists seem to want to tell us is that we may not be as much as we think.

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Christopher Muller approaches his work almost as a still life painter would. Choose his objects carefully and try out all possible compositional options before translating those variations as two-dimensional renderings. Its objects are characterized by their banality, they are generic elements. Almost without nothing, the color, the design, the size are exceptional. This doesn’t mean that the artist does not follow a rigorous selection process. For a long time, he has collected almost obsessively the objects that he later includes in his settings. Each one of these elements is defined by its functionality within the domestic sphere. Deprived of their functional character, these pieces lack a reason for being. Be it a bucket, a lamp, a mop, a chair or a radio set, all objects are presented with enough lateral space so that there is no overlap or hierarchies. Freed from their utilitarian character, these objects acquire new identities as aesthetic pieces with a new plastic force. Despite the cold and distant presentation, it sometimes seems that the common thread of these heterogeneous presentations is random. In the relationships between words and images, however, there is the key to the unifying element between the different objects. For example, in his photo titled “From Head to Toe”, 1991, (From Head to Toe), a red cap and black rubber boots are the only color elements that punctuate the beginning and end of a route furnished by neutral elements that contain a marked human scale. Without having to represent the human body, Muller allows himself to take a somewhat humorous journey from cap to boots, from head to toe, creating small scenarios where he metaphorically includes a cosmogony of characters-objects without ever having to fall into the Narrative specificities of representing the human body.

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