Sali Muller

GROUP EXHIBITIONS (SELECTION)

2020 Add-on, Künstlerhaus Dortmund, Dortmund, Germany

2020 Art Rotterdam, The Flat – Massimo Carasi, Rotterdam ,The Netherlands

2019 Luxembourg Art Week, Luxembourg City, Luxembourg

2019 Strings, White Noise Gallery, Rome, Italy

2019 Bienvenue Art Fair, The Flat – Massimo Carasi, Cité Internationale des Arts, Paris, France

2019 4/10, IKOB Museum of Contemporary Art, Eupen, Belgium

2019 Art2cure, Galerie Indépendance, Luxembourg City, Luxembourg

2019 Spiegelungen, Gallery Nosbaum Reding, Luxembourg City, Luxembourg,

2019 Volta Basel, The Flat – Massimo Carasi, Basel, Switzerland

2019 Dusk till Dawn, The Flat – Massimo Carasi, Milan, Italy

2019 Digital, e.artis contemporary, Chemnitz, Germany

2018 Premio Lissone, MAC Museo d’Arte Contemporanea, Lissone, Italy

2018 Luxembourg Art Week, Luxembourg City, Luxembourg

2018 Spiegelungen, Alte Feuerwache – Projektraum, Berlin, Germany

2018 Summer Exhibition, JD Malat Gallery, Mayfair, London, The United Kingdom

2018 Ein gemachter Mensch – künstlerische Fragen an Identitäten, Kallmann-Museum Ismaning, Munich, Germany

2018 Art2cure, Galerie Indépendance, Luxembourg City, Luxembourg

2018 Birthmarks / Voglie, The Flat – Massimo Carasi, Milan, Italy

2018 Black & White, e.artis contemporary, Chemnitz, Germany

2017 Lo sguardo di Narciso – The Gaze of Narcissus, The Flat – Massimo Carasi, Milan, Italy

2017 Luxembourg Art Week, Luxembourg City, Luxembourg

2017 YIA Art Fair, The Flat – Massimo Carasi, Carreau du Temple, Paris, France

2017 Luxembourg Art Prize, Galerie Hervé Lancelin, Luxembourg City, Luxembourg

2017 Auto I Mobil: Epoche der Mobilität I Epoche der Kommunikation, Tufa Trier, Trier, Germany

2017 Aesthetica Art Prize, York, The United Kingdom

2016 Encoding the Urban, Regionale 17, Kunsthaus Baselland, Basel, Switzerland

2016 Call XVIII, Luis Adelantado Gallery, Valencia, Spain

2016 Error X, Ostrale, Int. Ausstellung Zeitgenössischer Künste, Dresden, Germany

2016 GroupShow.lu, Zidoun-Bossuyt Gallery, Luxembourg City, Luxembourg

2016 Aesthetica Art Prize, York, The United Kingdom

2015 Incubarte, 7 International Art Festival, Valencia, Spain

2015 8e Biennale d’Art Contemporain, Strassen, Luxembourg

2015 La Liberté d’Expression, Musée Nationale de la Résistance, Luxembourg

2015 BlauBlauBlau, Tufa Trier, Trier, Germany

2014 London Calling, Shoreditch, London, The United Kingdom

2014 The Project, Galerie Bradtke, Luxembourg City, Luxembourg

2014 Salon du CAL, Luxembourg City, Luxembourg

2013 Recall, Kjub Gallery, Luxembourg City, Luxembourg

2013 Expo Urbaine Art Door, Luxembourg City, Luxembourg

2013 7e Biennale d’Art Contemporain, Strassen, Luxembourg

SOLO/DUO SHOWS

2020 Inside, Espace d’Art Suzanne Savary, Thionville, France

2020 Here and there I Ici et là, Centre d’Art Dominique Lang, Luxembourg

2019 Kunst im Bau, e.artis lab, Wirkbau, Chemnitz, Germany

2019 Das Zeitfenster, CeCiL’s Box, Cercle Cité, Luxembourg City, Luxembourg

2019 Fragil, e.artis contemporary, Chemnitz, Germany

2017 Museum of Vanities, IKOB Museum of Contemporary Art, Eupen, Belgium

2017 Blackout, e.artis contemporary, Chemnitz, Germany

2016 Ecriture Sans Fin, AICA International Association of Art Critics, Kiosk, Luxembourg

COLLECTIONS

MAC Museo d’Arte Contemporanea Lissone

Collections d’Art de la Ville de Dudelange

Private collection, Milan

IKOB Museum of Contemporary Art

Private collection, Milan

Municipality of Strassen

EDITIONS

IKOB Museum of Contemporary Art

e.artis contemporary

PORTFOLIOS IN LIBRARIES

Arken Museum of Modern Art

Arter Space for Art

e.artis contemporary

Galeria Elba Benitez

IKOB Museum of Contemporary Art

JD Malat Gallery

Kallmann-Museum Ismaning

Kunsthalle zu Kiel

Kunstmuseum Krefeld

Kunst- und Museumsbibliothek Köln

Künstlerhaus Dortmund

La Galerie Centre d’Art Contemporain

Latvian National Museum of Art

MAMAC Nice

Neues Museum Nürnberg

Oldenburger Kunstverein

Stedelijk Museum Amsterdam

The Flat – Massimo Carasi

AWARDS & SHORTLISTS

2018 Premio della Critica, MAC Museo d’Arte Contemporanea, Lissone, Italy

2017 Luxembourg Art Prize, Finalist, Galerie Hervé Lancelin, Luxembourg

2017 Aesthetica Art Prize, Longlist, York, The United Kingdom

2016 Aesthetica Art Prize, Longlist, York, The United Kingdom

2016 Int. Emerging Artist Award, Shortlist, Dubai, United Arab Emirates

2016 Salon de Montrouge, Shortlist, Paris, France

2015 Blooom Award, Nomination, Cologne, Germany

2015 Incubarte Award, 7 International Art Festival, Valencia, Spain

2013 Prix Jeune Artiste, 7e Biennale d’Art Contemporain, Luxembourg

EDUCATION

2009 History of Arts, University Trier, Germany

2006 Master in Visual Arts, UMB University Marc Bloch, Strasbourg, France

THE WORLD BEHIND THE MIRRORS

Friedemann Hoerner

Curatorial Assistant , IKOB, Museum of Contemporary Art

Sali Muller tends to obscure the view onto her objects, something which causes me as a viewer to turn my attention back onto myself and to examine how I perceive her works through the applied or removed layer. Standing opposite the works, I can no longer see myself clearly even though I can perceive myself diffusely. So if I don’t have a polished mirror image of myself available, then I am thrown back to what remains, what lies behind: in other words, to the question as to which substance I can possibly find in myself, or which instability I must endure in the dissolution of my self-image. The works of the artist reflect upon the theme of vanity – or upon narcissistic disturbance as the extreme form thereof – inasmuch as they do not even allow the viewer to become absorbed in his own mirror-image.

In any case, I must proceed past external appearance. Even if the silicon in the work CRYSTAL CLEAR from 2017 promises pellucid permeability, what results from the material spread extensively over the mirror is a wondrous dissolution of one’s self-image. This ultimately offers me the opportunity to see myself as part of a universal whole – a meditative experience.

The sound of the scraping sandpaper which the ground-down mirror conveys as a resonating body within the restrained sound installation THE IMPERCEPTIBLE SELF is analogous to the gnawing tooth of time, which no one in this world can escape. The recording of the sounds made at the time of the act of sanding summons up the notion of an inscription into a layer (whose result we see) – even if this can only be achieved in perception, which in turn lies in the ear of the viewer. Thus the world behind the mirror evoked by the artist tells the viewer that the past is necessarily relativized in the act of remembering, that the perspective onto the past becomes increasingly diffuse and disparate the more layers accumulate in 13 the memory.

What is past cannot be held onto, and so in the encounter with Muller’s works – and with ourselves – we can learn transitoriness. But not only that: The latent melancholy inherent to the theme of vanitas disappears as soon as we face up to the latent self-image with which the artist confronts us and begin to see it as a given condition in our existence. Experiencing evanescence as something incomprehensible and fragmentary but also as something that belongs to us just as much as the skull does to the memento mori: Sali Muller’s works allow, there where they draw the curtain, a new openness to be experienced.