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Kaspar Müller

Press release

Kaspar Müller – Why always me?

The genres within photography have fragmented into tiny shards, of which we are acutely aware even if we don’t name them. We have developed a nuanced ability to read images, one that runs parallel to aesthetics. It considers what an image is trying to communicate, through what strategies, and assesses its overall success in situ. The photograph has made itself too available to us. We take them for granted and are entirely dependent on them. At the same time, we have let ourselves become so immersed in this sea of images that we begin to mistake them – their volume in particular – for a means of understanding. 

In an earlier text on Müller’s work I wrote that he “undermines the conventions of the reception of art as it has come to be today: a hydra of communication, promotion, advertising and social posturing. He still exists within this system – it’s more or less inescapable – but many of his actions as an artist try to peel the curtains back a bit.” The photographs shown here, taken over the past decade, offer up an illustration of the system as it has become intertwined with an individual’s life. They open a window into Müller’s travels (many of which were sponsored by those supporting his work as an artist), his experimentations in the studio, his exhibitions and participation in art fairs, and his personal life – including portraits of his son and his family’s cat. From the description, one could just as easily be talking about his Instagram account. Their collective title – “Why Always Me?” – is like a twinned admission of the self-involvement of being an artist and an attempt at absolution.