Matthias Müller born in Bielefeld, Germany 1980-87 Studied Arts and German Literature at Bielefeld University 1987-91 Studied Arts at the HBK Braunschweig. Master’s degree 1994-97 Guest Professor at the Johann Wolfgang Goethe University, Frankfurt/Main 1998-99 Guest Professor at the Dortmund Fachhochschule Since 2003 Professor of Experimental Film at the Academy of Media Arts, KHM, Cologne Matthias Müller is an artist working in film, video and photography. As a curator, Müller has organised numerous avant-garde film events, such as the "Found Footage Film Festival" (1996 and '99), the first German festival of autobiographical films, "Ich etc." (1998), and various touring programs. With his films and videos he has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto and Rotterdam. His work has also been featured in several group and solo exhibitions. Institutions such as the Museum of Modern Art, New York, the Image Forum, Tokyo, the Museu da Imagem e do Son, São Paulo, the Museum Ludwig, Cologne, and the Museum of Modern Art, San Francisco, dedicated retrospectives to him. His films and videos are part of the collections of the Centre Georges Pompidou, Paris, Museu d’Art Contemporani, Barcelona, Nederlands Film Museum, Amsterdam, Australian Centre For The Moving Image, Melbourne, Kunsthalle Bielefeld, Towner Art Museum, Eastbourne, FRAC Haute Normandie, Rouen, Goetz Collection, Munich, Collection of Jean-Conrad and Isabelle Lemaître, London, and Tate Modern, London. Selected Awards and Honours 1988 American Federation of Arts Experimental Film Award 1991 Preis der deutschen Filmkritik 1992 Niedersächsisches Nachwuchsstipendium des Ministeriums für Wissenschaft und Kultur 1993 Förderpreis des Landes Nordrhein-Westfalen für junge Künstler 1995 Great Prize, Festival Internacional Curtas Metragens, Vila do Conde 1996 Golden Gate Award, San Francisco International Film Festival 1997 Preis der deutschen Filmkritik 1998 First Prize, Semana de cine experimental, Madrid 1999 Main Award, Internationale Kurzfilmtage Oberhausen Nomination for the European Film Award 1st Prize, Viper Festival, Lucerne 2000 Preis der deutschen Filmkritik (with Christoph Girardet) Jahrespreis des Verbandes der deutschen Kritiker Kunstfonds e.V. Arbeitsstipendium 2003 The Ken Burns “Best of the Festival“ Award, Ann Arbor Film Festival 2004 Marler Video-Kunst-Preis 2006 Grand Prix Canal + du court métrage, Semaine de la Critique, Cannes Film Festival Selected Films and Videos Aus Der Ferne – The Memo Book 16mm, colour, sound, 28', 1989 "One of the most beautiful and original of recent experimental films to treat the emotional landscape of the present plague years. Begun as a portrait of a former lover who had died of AIDS, Aus Der Ferne is as much a self-portrait of the filmmaker, projecting into his own mortal fears, fascination with German romanticism, and his exorcising of memory. A tender, magical and melancholy love poem by an important new talent.” John Gianvito, Dreams of Life, Amherst, 1990 “Using a myriad of experimental and expressionistic techniques, Matthias Müller has fashioned a compelling visual feast. He weaves a cinematic spell of motion and vitality with seemingly the simplest of means. Extreme close-ups of objets trouvés, light flashes, flares, jagged public domain debris, all combine and interact at a furious pace. Generally, this excellent piece of work encompasses both everything and anything that one wants out of a cinematic experience and cannot be too highly recommended. It is maximalism.” Warren Sonbert, The Bay Area Reporter, San Francisco, 1990 “In the various hand-processed treatments undertaken on its image, Aus Der Ferne displays an emphatic tension between the aesthetic expression of ephemeral states, like dreamwork and memory, and the stark reminder of the film’s materiality. By emphasizing the materiality of the film, Müller sets up one of its most striking metaphors — the film as body.“ Roger Hallas, camera obscura, Durham, 2003 Home Stories 16mm/DVD, colour, sound, 6', 1990 ”In Home Stories Müller transforms linear, syntagmatic events into a world of purified emotion expressed in closely related, paradigmatic elements, condensing them into a grand poem of fear." Peter Tscherkassky, Mostra Internazionale del Nuovo Cinema, Pesaro, cat., 2000 “Home Stories, in its insistence upon mirroring and self-reflexivity, reveals its source of terror as not somehing inherently ‘feminine‘, but rather as the construct of femininity created by patriarchal modes of representation and held up as mirrors to women in texts designed for female consumption. Müller’s redesigned text transforms these confined/confining depictions of femininity, and after building to an intertextual frenzy, frees the representations both in terms of the narrative and in terms of their cultural usage.“ Robert Cagle, Claustrophobia, ex.cat., Birmingham, 1998 “While Home Stories undoubtedly elaborates a shrewd ideological critique of gender construction and the home, it moreover draws much poetic and affective power from the cinematic excess embedded in these narratively insignificant moments from popular cinema.“ Roger Hallas, camera obscura, Durham, 2003 Sleepy Haven 16mm/DVD, colour, sound, 14', 1993 “Enhanced by Dirk Schaefer’s lulling music, the appearance and disappearance of the image mimics the rhythms of the body – a palm opening, nocturnal tossings, the heartbeat, and breath. Through the processing the images often seem submerged, as if trying to rise unsuccessfully to the surface of consciousness. This is a film that sonically searches out subaquatic connections.“ Alice A. Kuzniar, The Queer German Cinema, Stanford, 2000 “Sleepy Haven’s mottled, fissured surfaces resemble nothing so much as a body, its solarized apertures imparting a hallucinatory beauty which threatens always to break apart entirely, the skin of its material support pitilessly stretched across their fantastical recline. (...) Asleep, the bodies offer themselves up to the gaze of the beholder, the film’s daydream structure suggesting that their minds are elsewhere, drifted far from these emptied tissues and ligaments, the better to offer themselves as vehicles of fantasy and projection. (...) The long dream of the image world, depicted here as a reverie in stasis, a sleepy haven, is both conjured and deconstructed, made to reveal the stress fractures which result when the aims of everyday life are made to rub up against the dream factory.“ Mike Hoolboom, Millenium Film Journal, New York, 1997 Sternenschauer - Scattering Stars 16mm, b&w, sound, 2', 1994 "Scattering Stars is a paen to light, a glittering bodice of a film that rapturously unfolds its subject with a shimmering luminosity.” Mike Hoolboom, Millenium Film Journal, New York, 1997 Alpsee 16mm/DVD, colour, sound, 15', 1994 “The culmination of Müller’s richly associative psycho-sexual webs of meaning is Alpsee, a full-blown psycho-drama with elaborate mise-en-scène." Gavin Smith, Film Comment, New York, 2000 "Photographed with an exquisite eye for interiors and a restless invention, Alpsee stages a boy’s coming of age, that painful rend between infant dependency and mature individuation. Nearly wordless, Müller proceeds by analogy and synecdoche, gathering up precisely framed moments within the home and collecting them as evidence. Its gorgeous chromatic scheme and high key lighting mark a significant departure from Müller’s narrow gauge efforts of the 80s.” Mike Hoolboom, Millenium Film Journal, New York, 1997 "With the glowing colours in Alpsee, Müller leaves the gloom that prevailed in the universe of his earlier films. His clinical sharpness, however, does not deprive the film of its secret, its disquieting strangeness – and thus recalls Buñuel and Hitchcock". Jacques Kermabon, Bref, Paris, 1995 ”Along with the world's great cineasts – from Meliès to Chris Marker – Müller shares the desire to vanish. He remains invisible, his location unfixed. Müller makes biographical cinema, but uses found material. Thus, Alpsee, a film about his childhood, takes you directly to Mars." Fritz Göttler, Süddeutsche Zeitung, Munich, 2001 Pensão Globo 16mm/DVD, colour, sound, 15 ', 1997 "Eight years after his elegiac Aus der Ferne, Müller revisits Lisbon, the city of fate, of longing and decay and divisible selves. Shadowing his protagonist from a hotel cell into labyrinthine streets, the film contemplates dissolution and the permeable boundaries between life and death in sanguinary colours and swimming superimpositions.” The New York Film Festival, cat., 1997 ”Just as in reality – when our thoughts constantly run ahead or behind of everything we do – the space behind the visible seems to appear here. A man lies down upon a bed, a hand reaches for the nightstand; everything is overshadowed by the same action, and you can’t tell the difference between shadow, premonition and echo." Michael Althen, Frankfurter Allgemeine Zeitung, 2002 "The wonder of Matthias Müller’s experimental film work comes from letting you into this most private of all private worlds, the diary where memory and desire are layered one on top of the other. Non-linear but intensly dramatic, visually complicated but emotionally direct, this remarkable cycle of work opens itself up to you like a secret diary being read for the very first time.” Peter Goddard, The Toronto Star, 1997 Vacancy 16mm/DVD, colour, sound, 15', 1998 “Müller takes home-movies of the inauguration day of Brasília and subjects them to a unique visual style. Ageing film-stock flickers and fades generating an aura of ambient romanticism. As the clouds gather over Niemeyer’s space-age architecture, Müller conjures up a feeling of profound melancholy - the identity of the poet narrator blurred into the exquisite corpse of the city itself. In Müller’s film, documentary footage dissolves into a ‘Kodak moment’ of another kind.“ Gregor Muir, Flash Art, London, 2002 "In its relentless looking back on the past and its inability to envision a future, Vacancy is the quintessential millennial film. Misguided notions of progress have given way to pointless rovings and meaningless activities. The city is empty, its inhabitants gone, and yet we continue to prop up its corpse.” Scott McLeod, Lux – A Decade of Artists‘ Film and Video, Toronto 2000 “Watching Vacancy is to be sucked into a narrative worthy of Andrei Tarkovsky’s great and greatly mysterious film, Stalker. Müller’s images cut and dissolve into each other remorselessly; delivering an unearthly take on Brasília’s architecture. Looking on in that darkened room, it is easy to imagine that even the most unremarkable buildings, those we pass heedlessly every day, carry a weird, protean charge; flickering alternative forms that, if revealed, might make them as shockingly bizarre as coelacanths.” Jay Merrick, The Independent, London, 2001 Phoenix Tapes with Christoph Girardet, Betacam video/6 DVDs, colour/b&w, 45', 1999, commissioned by MOMA Oxford ”The Phoenix Tapes not only highlight Hitchcock’s obsessions with certain types of repetitive movements and highly loaded visual signifiers, but suggest that these actions are part of a universal language of gesture that encompasses both cinematic and everyday modes of communication.” John Tozer, Camera Austria, Vienna, 1999 "The Phoenix Tapes transform the laborious encyclopaedism of their making with a wit, cunning, rhythm and tone that are all true to source.” Tom Lubbock, The Independent, London, 1999 “Girardet and Müller are unique in their willingness to let Hitchcock speak for himself; it’s only through them that we are given the unadulterated Hitchcock, distilled to an almost unbearable concentration. The captivating unease that results would make the master himself proud.“ Murray Whyte, National Post, Toronto, 2000 ”There is a neglected and ignored demand from Jean-Luc Godard: ‘Film critics should make films instead of criticizing them.’ This is exactly what Christoph Girardet and Matthias Müller have done. They have not simply made another film about Hitchcock. Their Phoenix Tapes are proof: it is possible to make a film with Hitchcock in 1999.“ Michael Girke, Stadtblatt Bielefeld, 1999 nebel 35mm/DVD, colour/b&w, sound, 12', 2000 ”Müller embeds Ernst Jandl’s elegiac cycle ‘poems to childhood’ in an ethereal kaleidoscope of images which make past sensations present – as if they were gently awoken from slumber by the poet’s words. They serve Müller neither as illustrations of the spoken word nor as interpretations of it, but instead hint cautiously at something in-between or behind it. They strike the viewer as fleeting moments which do not mark any particular stage of life, but rather communicate a feeling of life by means of atmospheric intensity, adding a captivating note to the feeling, circumscribed in laconic melancholy, of a poet in the evening of his life.“ Robert Buchschwentner, Vienna, 2000 “Müller takes up Jandl’s challenge of looking at things backwards and forwards, and translates his paradoxical logic into filmic terms. He successfully avoids the pitfall of stringing together one-to-one illustrations of the poet’s imagery. Instead, he has chosen personal associations that are far more subtle.“ Marcy Goldberg, Visions du Réel, cat., Nyon, 2002 Breeze 35mm, colour, sound, 1', 2000, commissioned by Vienna International Film Festival “Breeze is an avant-garde-poem that recreates an imaginary, forever changeable world of filmstars and film sets, of curtains and white screens, moved by a mysterious breeze: a fascinating vision of cinema's endless possibilities, partly compiled of found footage, composed to a one-minute-advertisement for the suggestive art of moving pictures.“ Stefan Grissemann, Vienna International Film Festival, cat., 2000 “Against a pitch-black night-time sky, splendid fireworks explode. From a different darkness, gleaming male body parts light up. Meticulous cutting and solarisation make the fireworks seem to emerge from the very centre of the bodies.” International Film Festival Rotterdam, cat., 1995 “Breeze by the outstanding artist Matthias Müller constructs an intense emotional narrative testing out our collective cinematic memory.” Iliyana Nedkova, Desktop Icons, CCA Glasgow, 2001 Phantom Betacam video/DVD loop, colour, sound, 5', 2001 “In Phantom, each face, each body appears, like cinema itself, from beneath a curtain that flutters and flickers to reveal haunted silhouettes that never quite take shape. These secret sensations, resurrected from beneath the surface of the film, appear as light and shadow, seeming to beckon us to follow them on a journey into the deep space of dreaming behind the curtain.“ Victoria Lynn, Deep Space: Sensation and Immersion, ex.cat., Melbourne, 2002 ”Phantom seems to come straight from the realm of the spirits; it's a blood-red coloured fantasy about what lies beyond the curtains that apparently separate the living from the dead. Again, it seems as if these are the figures that wander unredeemed through film, without our noticing them. Projecting these images on a curtain intensifies the notion that a breath of air would be enough to scatter them all to the four winds.” Michael Althen, Frankfurter Allgemeine Zeitung, 2002 Manual with Christoph Girardet, Betacam video/DVD loop, colour, sound, 10', 2002, commissioned by FACT, Liverpool “In Manual, technology appears to be breeding invisible monsters that have taken over the controls of the underground laboratory. Somewhere behind the scenes I imagine the wizened old ghost of William Burroughs drawling: ’The definition of paranoia is being in full possession of all the facts.’ “ Robert Clark, The Guardian, London, 2002 “In its form, Manual internalises the condition of the technology it displays. Every flash-cut between images of buttons being pressed has been triggered by an editor’s finger flicking a switch. Cause and effect collapse into a short-circuited loop of signification. In Müller and Girardet’s work the material dictates the means and method by which the artists explore their subjects – modern relics, the myth of progress, the souring and decay of utopian promises. A deep and abiding melancholy emerges from the lost world of their found footage.“ Chris Darke, The Lost World, ex.cat., Liverpool, 2002 “The great thing about Girardet and Müller’s work is that, although it puts in distance, it doesn’t itself disavow this pleasure. It renews it. It takes a genial attitude to film’s fixtures. It puts these repetitious motifs on literal repeat, and creates a slightly deranged celebration of the thrills of repetitiveness, of stimulus and response, the throwing of mental switches.“ Tom Lubbock, The Independent, London, 2002 Container DVD, colour, silent, 26', 2001 "A series of tableaux taken from a number of found portrait negatives dating from the 1950s and '60s, arranged as a quiet series of images of gradually aging men." Matthias Müller Pictures DVD loop, colour, silent, 2', 2002 ”Pictures is most clearly a combination of the two media of film and photography; a third medium is the female figure wandering like a ghost through both worlds. The frontal view of a woman watching us is a contrast to the back views shown to us by Caspar David Friedrich, for instance. These figures are like our proxys, luring our view towards the depth of the picture, towards the painter's reality. Müller’s figure, on the other hand, drives us out of the illusionary paradise of 'film'. It marks the borderline, not just between interior and exterior, but also between us – the viewers – and the viewed." Christiane Heuwinkel, Die Phantome des Filmemachers, Bielefeld, 2002 Beacon with Christoph Girardet, Betacam video/DVD, colour/b&w, sound, 15', 2002, commissioned by Festival Internacional Curtas Metragens, Vila do Conde “Beacon is a montage of location shots filmed at ten different places around the world. These sites are connected by the fact that each is located by the sea. Seamlessly combining travelogue footage and appropriated clips from feature films, Beacon produces a single, imaginary locale. Distant echoes of stories of the sea mingle with the banality of today's touristy beachlife. In its collage of places of expectation and with its seductive prospects of the sea, Beacon sets off on a journey with no distinct destination.“ Christoph Girardet & Matthias Müller “This absolute work of art is characterized by its extreme precision of the framing and by the specific way the montage of images creates the off-text.” Augusto M. Seabra, Público, Lisbon, 2002 “A montage of seas all over the world, from the Philippines to the Irish Sea, as well as from old movies, Beacon is a marvel of dissolves, superimpositions, cross-fades. At heart it visualises that great reverie that overcomes you at the beach, watching the same water that laps the world's shores, of other oceans, other tides. Horizons endlessly receding. Sheets of pearly blue silk. Waves overwhelming lighthouses or dwindling to silver froth on the sand: it runs all the way from the figurative to the abstract. Each shot, deserted or populous, is mesmerising in its singularity, yet united by the constant of the horizon line. 'Every view has its designer,' muses the voiceover, as a kite performs calligraphy in the sky. That soundtrack is more poem than prose and perfectly tuned to the images. Melancholy, excitable, it rises and falls with the water. Memories of sea movies, sea yarns, escaping to sea, of brides photographed by the ocean, of childhood trips to the beach, it ebbs and flows with a gorgeous smoothness, always trying to reach that horizon, like the camera itself. It could have gone on for ever (except that these artists never make immodest demands on your time) - a half-recalled dream, a dream of a film-work.” Laura Cummings, The Observer, London, 2004 Promises DVD loop, colour, silent, 8', 2003 ”Promises is based on a selection of sixteen prints from my collection of old wedding photographs. The video pulses violently from one bouquet of red roses to another, focusing on their unifying similarities. Animating still photography into moving images, Promises zooms into the very centre of the images – single buds – in a nervous, flickering rhythm, as if it were searching for a message hidden deep under the surface. Aggressive irruptions in the editing seem to make the meticulously arranged bouquets explode." Matthias Müller Play with Christoph Girardet, Betacam video/DVD loop, colour/b&w, sound, 7', 2003 ” With their montage of found footage of audiences, Müller and Girardet shape a captivating dramatic arc. It contains condensed suspense with highs, lows, hesitations, peaks, tension and humour; it's all a bit uncanny, since our imagination can read fathoms deep into the faces.” Anke Groenewold, Neue Westfälische, Bielefeld, 2003 Mirror with Christoph Girardet, 35mm cinemascope/Betacam video/DVD loop (double projection), colour, sound, 8', 2003 ”A woman, a man, guests at an evening party. Settings, which are gradually abandoned; the remains of an event, gazes that have lost their object. Mirror creates an atmospheric image of the 'in between', the nameless sphere between belonging and isolation. ‘The characters in a tragedy, the air they breathe, the settings, are sometimes more absorbing than the tragedy itself, as are the moments before and afterwards, when the plot is at a standstill and the dialogue is silenced.’ (Michelangelo Antonioni)” Christoph Girardet & Matthias Müller “The artists have devoted themselves to the moments in a movie before and after a crucial speech or event: the time, as it were, in between times. (…) They have, in effect, made a movie out of the hiatus, the pause... the caesura. A woman, a man, both in evening dress; at some sort of gathering, or the ruins of a party. Isolated, unspeaking, rarely in the same shot, the froideur between them is palpable. It seems like the end of a love affair, or the revelation of betrayal, or at the very least a sudden surge of mistrust. Except that these are not the routine questions that this film inspires. The tableaux in which the figures stand like statues are animated by light alone. A light that glimmers, or suffuses a room like smoke, or crackles and fizzes from overhead lamps in long corridors. It polishes a grand piano, soothes the cheek of the pensive woman, surrounds the man with glassy halations and then makes him vanish, as if his part was over, before the room in which he stands disappears. It describes separation, illuminates solitude, removes these figures from their surroundings. This sense of disassociation is increased, moreover, by a mysterious division - as it were between reality and reflection - in the film. You hardly notice it at first, but there is a vertical fissure running down the centre of the image. It turns out there are not one but two images, separate halves projected through separate lenses that unite to create one motif. Without a centre, a meeting point, the figures are forced even further to the edges. And the effect is extraordinarily subtle and rich. Fragility made tangible, beautiful, beguiling. Paralysis made unexpectedly dramatic. The more you watch, the more you wonder not about what has been said or done by these people but at the terrible distance between them, how sealed and impenetrable each has become to the other: glacial as a mirror image.” Laura Cummings, The Observer, London, 2004 Veil DVD loop, b&w, silent, 30'', 2004 “A bride spins around, lost in herself, but becomes immobile in the consciousness of an observer. Her gaze freezes. Veil describes two parallel movements: one from the inside to the outside, and one made from the amorphous blur of the imaginary within the sharpness of the factual.“ Matthias Müller Album DVD loop, colour /b&w, sound, 24', 2004 “Album is nurtured by my personal arsenal of memories. Numerous moving images, collected by me over the years without any particular purpose in mind, are the visual source of this collage: flotsam and jetsam floating down a river, a plastic bag swirling around a wire, a shirt hanging in an open window. These motifs encounter each other, as do pictures in a photo album. Inserted texts revolve around processes of memory, appropriation and loss. Their recurring themes stay fragments – like single sentences lifted from a diary. They accompany and temporarily possess the images, only to ultimately leave them as they are: open, ambiguous and autonomous.“ Matthias Müller “Album, Müller’s new diaristic video loop (…), is constructed of all kinds of footage that the artist has made or collected over the years, with no particular end in mind. Images hat convey the mutability of all things – a passing crowd, a shirt hanging in a window or an oceanic horizon – are interspersed with white-on-black text: ‘Is absence possible while the memory of absence remains?… The memories he avoids catch up to him like a shadow… Can there be a conclusive view of what we did earlier? … He believes he only has to collect.‘ Far from being trite, as such undertakings can easily become, Müller’s meditation and insights into his own identity, memory and their relation to his image-making resonate. They also give a clue about his principal concern, namely the desire to create work that is ‘like a curious echo – more vibrant than the sound that produced it’.” Dominic Eichler, frieze, London, 2004 Ray with Christoph Girardet, DVD loop, b&w, sound, 1 min., 2004 “A study of light.” Christoph Girardet & Matthias Müller Kristall with Christoph Girardet, 35mm/DVD loop, color, sound, 14'30'', 2006 "Kristall creates a melodrama inside seemingly claustrophobic mirrored cabinets. Like an anonymous viewer, the mirror observes scenes of intimacy. It creates an image within an image, providing a frame for the characters. At the same time it makes them appear disjointed and fragmented. This instrument for self-assurance and narcissistic presentation becomes a powerful opponent that increases the sense of fragility, doubt, and loss twofold." Christoph Girardet & Matthias Müller "Christoph Girardet and Matthias Müller’s Kristall extends from the artists’ previous work using iconic images from commercial cinema. Drawing on the rich tradition of mirror imagery in the movies, they introduce unexpected visual ruptures and passages of quiescence." Chris Gehman & Andréa Picard, Toronto International Film Festival, September 2006 "Christoph Girardet and Matthias Müller are back with yet another ingenious exploration and reworking of Hollywood codes and cinematic grammar. In Kristall, they cull dozens of similar images from classic films—almost all featuring mirrors—to create an ominous, dialogue-free narrative of romance and terror. Remarkable, inventive and often hilarious." Jason McBride, Toronto Life, September 2006 "Shards of emotions from Hollywood melodrama are combined in a Chinese box of reflection and refraction. Kristall is a cinematic hall of mirrors, which ruptures and multiplies the anxieties of narcissistic, star-crossed lovers." Mark Webber, BFI 50th London Film Festival, October 2006 Hide with Christoph Girardet, DVD loop, colour, sound, 7:40 min., 2006 "The promise embedded in the messages of the cosmetic industry is a slowed-down, postponed physical decline of the human body. Hide is based on excerpts of TV commercials promoting products of this industry: lotions, moisture cremes, balms, soap and shampoo. Such commercials celebrate the attractive surfaces of immaculate, youthful bodies. The seductive glances of the female models, paired with autoerotic poses of a lascivious narcissism is characteristic of these films. Hide concentrates on shots of hands either touching the body or cosmetic products. These recurring motifs, condensed in a new montage and repeated in a kind of “heavy rotation”, undergo various biochemical treatments: the emulsion is gradually violated, damaged, lifted off the film. However, the cyclic structure of Hide allows its detereorating images a kind of resurrection out of the dirty white of the blank film." Christoph Girardet & Matthias Müller Photography Alpsee 1994/2001 set of 8 piezo prints, pigmented ink on “Hahnemühle German Etching“ 26 x 36 cm each Arrow, Wasteland, Thunderclouds, Sprinkler 1998/2001 4 piezo prints, pigmented ink on “Hahnemühle German Etching“ 78 x 108 cm each Cactus 2005 piezo print, pigmented archival ink on "Hahnemuehle Photo Rag" 18 x 106 cm Conspiracy 2001 set of 8 gelatin silver prints 47,8 x 59 cm each Dream Factory 2001 set of 10 laminated c-prints on alucobond 29,5 x 44,5 cm each Eternal Love 1998/2001 piezo print, pigmented ink on “Hahnemühle German Etching“ 78 x 63 cm Pensão Globo 1997/2001 set of 9 cibachrome photographs 30 x 40 cm each Pensão Globo Diptych 1997/2001 set of 2 cibachrome photographs 30 x 40 cm each Phantom Triptych 2001/2002 set of 3 piezo prints, pigmented ink on “Hahnemühle German Etching“ 30 x 40 cm each Places (# 1 - # 7) 2005 piezo prints, pigmented archival ink on "Hahnemuehle Photo Rag" mounted on KAPAmount 10mm 106 x 76 cm each Smoke 2004 set of 5 piezo prints, pigmented ink on “Hahnemühle Photo Rag” 48 x 64 cm each Work Prints 2001 set of 10 laminated c-prints on alucobond 29,5 x 44,5 cm each Selected Group Shows 1993 Desmontaje: Film, vídeo / Apropiación, reciclaje, Institut Valencia d’Art Modern, touring exhibition Mutation de l’image, Vidéotheque de Paris 1994 Points de vue – images d’Europe, Musée national d’art moderne / Centre Georges Pompidou, Paris Beauties, Deichtorhallen, Hamburg 1995 Le je filmé, Musée national d’art moderne / Centre Georges Pompidou, Paris 1996 Cluster Images, Werkleitz Gesellschaft, Werkleitz 1997 Media in Media, Soros Centre for Contemporary Art, Ljubljana documenta X, Videotheque, Kassel Prends garde! A jouer au fantôme, on le devient, Bersschouwburg, Brussels 1998 Claustrophobia, Ikon Gallery, Birmingham, touring venues: Middelsbrough Art Gallery / Mappin Art Gallery, Sheffield / Dundee Contemporary Arts / Cartwright Hall, Bradford / Aberystwyth Arts Centre / Centre for Visual Arts, Cardiff Slipstream, film program, Centre for Contemporary Arts, Glasgow Ghost Story, film program, Künstlerhaus, Vienna 10.01, Kunsthalle Bielefeld 1999 Notorious – Alfred Hitchcock and Contemporary Art, Museum of Modern Art, Oxford, touring venues: MCA, Sydney / Art Gallery of Hamilton, Ontario / Kunsthallen Brandts Klaedefabrik, Odense / Tokyo Opera City Art Museum / Hiroshima Contemporary Art Museum / La Caixa de Lleida / Centrum voor Beeldende Kunsten, Hasselt Rencontres vídeo art plastique, Centre d’art contemporain de Basse-Normandie, Hérouville St.-Clair The American Century: Art and Culture - Part II: 1950-2000, film program, Whitney Museum of American Art, New York 2000 Shimmer, Area, Toronto Imaginons, un lieu, Centre d’art contemporain de Basse-Normandie, Hérouville St.-Clair Manifesta 3 – European Biennial of Contemporary Art: Borderline Syndrome, Ljubljana 9. Marler Videokunstpreis, Glaskasten, Marl Brasília – Architektur der Moderne, ifa-Galerie, Berlin/Bonn Living with the Dutch, 89 Erlanger Road, London Utopias, Mead Gallery, Warwick Arts Centre, Coventry Monter/Sampler, Musée national d’art moderne / Centre Georges Pompidou, Paris Elisabetta Benassi - Federico del Prete – Matthias Müller, Fondazione Adriano Olivetti, Rome 2001 playing amongst the ruins, Royal College of Art Galleries, London City Symphony, Centro per l’arte Contemporanea Luigi Pecci, Prato Bienal de Valencia, Video-ROM, Valencia All Is Fair In Love And War – The Homeport Video Library, Euromast, Rotterdam Die unheimliche Frau – Weiblichkeit im Surrealismus, Kunsthalle Bielefeld Recasting the Past: Beneath the Hollywood Tinsel, Main Art Gallery, California State University Fullerton/CA jusqu‘ au bout: Bill Viola, Veli Granö, Joost Conijn, Matthias Müller, attitudes – espace d’arts contemporains, Geneva Desktop Icons, CCA Glasgow, touring exhibition Tele(visions), film program, Kunsthalle Wien, Vienna 2002 Private Affairs – A Contemporary Video Exhibition, Kunst Haus Dresden, Galerie für Gegenwartskunst Video-ROM 2.0, Gian Carla Zanutti Gallery, Milan Here, Gallery of Modern and Contemporary Art, Bergamo Work in Progress – Instalações, Alfândega Régia, Vila do Conde Blow Up Your TV, York City Art Gallery, York Videodrome II, New Museum of Contemporary Art, New York Deep Space: Sensation and Immersion, Australian Centre for the Moving Image, Melbourne Hausordnungen, Stadthaus Ulm Juste des Images, Strassburg / Maillon Wacken 2003 Ron Amstutz, Vincent Geyskens, Matthias Müller, Thomas Erben Gallery, New York -stat.ic, Tent, Rotterdam CinéMaison, Beursschouwburg, Brussels Drinnen ist’s anders, Kunsthalle Exnergasse, Vienna Bewitched, Bothered and Bewildered – Spatial Emotion in Contemporary Art and Architecture, Migros Museum für Gegenwartskunst, Zurich / Laznia Centre for Contemporary Art, Gdansk Anemic Cinema, Sketch, London Inaugural Group Show, Timothy Taylor Gallery, London Und wenn Du eine Rose siehst, Palmengarten, Frankfurt/Main Sodium Dreams, Center for Curatorial Studies, Bard College, Annandale-on-Hudson 1st ICP Triennial: Strangers, International Center of Photography, New York fast forward, Media Art / Sammlung Goetz, ZKM – Zentrum für Kunst und Medientechnologie, Karlsruhe Experimenta Design – Bienal de Lisboa: 1000 Plateaux, São Jorge, Lisbon 2004 Playlist, Palais de Tokyo, Paris Feel – The Old, Z33, Hasselt Stich and Split. Selves and Territories in Science Fiction, Fundació Antoni Tàpies, Barcelona Curators’ Intuition, ICA / Maine College of Art, Portland, ME Domestizieren – Matthias Müller und Carsten Gliese, KunstVerein Ahlen Non Standard Cities, urban dialogues / Stadtkunstverein Berlin Sesión contínua DVideo, Galería DV / Distrito Cu4tro, San Sebastian Aufruhr der Gefühle – Leidenschaften in der zeitgenössischen Fotografie und Videokunst, Museum für Photographie, Braunschweig Moving Images, ICA, London Engaging the Speculum, Bannister Gallery, Providence Giving Water An Image, Hanoi University of Fine Arts The Future Has a Silver Lining. Genealogies of Glamour, video program, Migros Museum für Gegenwartskunst, Zurich INNENräume AUSSENstädte, ZKMax, München 2005 My Own Cinema, Galerie Georges-Philippe & Nathalie Vallois, Paris Doppia Visione / Double Vision, Magazzino d’Arte Moderna, Rome Universal Experience: Art, Life, and the Tourist's Eye, Museum of Contemporary Art, Chicago; touring venues: Hayward Gallery, London; MART, Museo di arte moderna e contemporanea di Trento e Rovereto Fair Use: Appropriation in Recent Film and Video, Armand Hammer Museum, Los Angeles Art Rock, Rockefeller Center, New York e-flux video rental, Kunst-Werke, Berlin Some Stories – Jorge Macchi, Matthias Müller, Carlos Rodríguez, Distrito Cu4tro, Madrid Ordering The Ordinary, Timothy Taylor Gallery, London In The Middle Of The Night, Kunsthalle Bielefeld Modern Times, Museum Man of Nuoro, Sardegna Crosstown Traffic, Apeejay Media Gallery, New Delhi Multiple Räume (3): Film – Illusion und Imagination in der Kunst, Staatliche Kunsthalle Baden-Baden Play, Guido Costa Projects, Torino 2006 Une vision du monde – La collection vidéo de Jean-Conrad et Isabelle Lemaître, La Maison Rouge, Paris Archipeinture – Artists build Architecture, Le Plateau / Frac Ile-de-France, Camden Arts Centre, London Echapées, Wharf – Centre d'Art Contemporain de Basse-Normandie, Hérouville-Saint-Claire New Acquisitions, Towner Art Gallery & Museum, Eastbourne Les Grands Spectacles II – Die Kunst der Bühne, Museum der Moderne Salzburg Le Mouvement des Images – Art, Cinema, Centre Pompidou, Paris European Media Art Festival, Kunsthalle Dominikanerkirche, Osnabrück Zwischen Körper und Objekt, MARTa, Herford Històries de cinema – Vídeo contemporani i cinema, Centre Cultural el Casino, Manresa Ideal City – Invisible Cities, Zamosz / Potsdam 100 Tage – 100 Videos, Heidelberger Kunstverein Eine Frage (nach) der Geste, Oper Leipzig 2007 Collateral, Hangar Biocca – Spazio d'arte contemporanea, Milan Solo Exhibitions 2000 nebel, Kunsthalle Bielefeld Home Stories, Ormeau Baths Gallery, Belfast 2001 Vacancy, Stellan Holm Gallery, New York Matthias Müller - Film und Photographie, Galerie Volker Diehl, Berlin 2002 Private View, Artists Unlimited, Bielefeld Collective Items, Die Rampe, Bielefeld Manual (with Christoph Girardet) Bluecoat Gallery, Liverpool Phantoms, Timothy Taylor Gallery, London Manual, Milch Gallery, London 2003 The Projected Image, Tate Modern, London 2004 Album: Film – Video – Fotografie, NBK, Berlin Mirror (with Christoph Girardet), Timothy Taylor Gallery, London As Far As I Can See, Distrito Cu4tro, Madrid Mirror (with Christoph Girardet), Site Gallery, Sheffield 2005 The Life of Man, Capella Hospitalis, Bielefeld As If My Bones Had Turned To Water – Sleepy Haven, Thomas Erben Gallery, New York Revisitations (with Christoph Girardet), Solar – Galeria de Arte Cinemática, Vila do Conde Matthias Müller & Tatjana Trouvé, Galerie Georges-Philippe and Nathalie Vallois Album, Stellan Holm Gallery, New York 2006 Manual (with Christoph Girardet), Second Street Gallery, Charlottesville/Virginia Everything in its Place (with Christoph Girardet), Museum Sprengel, Hannnover Kristall (with Christoph Girardet), Skulpturenmuseum Glaskasten Marl Galleries Timothy Taylor Gallery, London Galerie Volker Diehl, Berlin Thomas Erben Gallery, New York Stellan Holm Gallery, New York Distrito Cu4tro, Madrid Selected Books and Articles Warren Sonbert: Heartening Maximalism. The Bay Area Reporter, San Francisco, September 16, 1990 Mike Hoolboom: Old Children and AIDS. Independent Eye, vol.11, no.2/3, Toronto, 1990, pp.89-98 Tanja Veenstra: Uitdaging aan de vergankelijkheid. Skrien, no.12, Amsterdam, December, 1992, pp.68-70 Yann Beauvais: Un cinéma mineur, de moeurs, d’humeur – Un second siècle pour le Cinéma. Art Press, no.14, Paris, 1993, pp.148-152 Siegfried Kaltenecker: Im Schatten der Objekte. Über die Reflexionen eines anderen Selbst in „The Memo Book”. Film und Kritik, no.2, Frankfurt, 1994, pp.71-84 Jacques Kermabon: Le cinéma dans les plis. Bref, no.26, Paris, August 1995, pp.8-13 Winfried Günther: Überall ist Schönheit. Zu den Filmen von Matthias Müller. epd film, no.12, Frankfurt, December 1996, pp.18-21 Jacques Kermabon: Matthias Müller - Les résonnances de l’intime. côte court, Paris, June 1997, p.24 Peter Goddard: The Intimate Cinema of Matthias Müller. The Toronto Star, Toronto, June 6, 1997 Gérard Lefort: Matthias Müller – épris de court. Libération, Paris, June 18, 1997 Mike Hoolboom: Scattering Stars – The Films of Matthias Müller. Millenium Film Journal, no.30/31, New York, 1997, pp.80-88 Amir Labaki: Mueller, revelaçao alemã. Folha de São Paulo, August 24, 1997 Gerald Koll: Das Auge als Schlupfloch. Matthias Müller in porträtierender Annäherung. Blimp, no.38, Graz, 1998, pp.58-61 Sophia El Mazougui: Matthias Müller – L’arbre de vie. Exploding, no.1, Paris, October 1998, pp.58-61 Gabriele Jutz: Die Physis des Films. Unter die Haut, St. Augustin, 1998, pp.351-364 Robert Cagle: Matthias Müller – “Home Stories”. Claustrophobia, ex.cat., Birmingham, 1998, pp.62-65 Serafino Murri: Matthias Müller - L’antico fanciullo. Metamorfosi, Rome, 1999, pp.36-37 Dietmar Post: Mes films s’écartent de cette vison des choses. Scratch Book, Paris, 1999, pp.302-308 Sophia El Mazougui / Florent Guezengar: Comme une image intérieur. Exploding, no.2, Paris, May 1999, pp.117-129 Florent Guezengar: La peau par les rumeur. Exploding, no.2, Paris, May 1999, pp.113-116 Anthony Lane: In Love with Fear. The New Yorker, New York, August 16, 1999 Alice A. Kuzniar: Experimental Visions – Matthias Müller. The Queer German Cinema, Stanford/CA, 2000, pp.206-215 Cécile Fontaine: Mosaïque ou broderie. Monter Sampler, ex.cat., Paris, 2000, p.24-31 Scott McLeod: The Shape of a Particular Death: Matthias Müller’s “Vacancy”. Lux: A Decade of Artists‘ Film and Video, Toronto, 2000, pp.206-209 Ted Shen: Memory Works – Film and Video by Matthias Müller. Chicago Reader, Chicago, March 24, 2000 Peter Tscherkassky: A Poet of Images. Mostra Internazionale del Nuovo Cinema, Pesaro, June 2000, pp.167-186 Anselm Wagner: Manifesta 3. frame, no.4, Vienna, September/October 2000 Maria Walsh: Utopias. Art Monthly, no.241, London, November 2000, pp.30-33 Emmanuelle Lequeux: Le found footage, nécessaire parasite. Le Monde, Paris, December 7, 2000, p.31 Dan Cameron: Manifesta 3. Artforum, special issue “Best of 2000”, New York, December 2000, p.142 Annika Wik: Förebild film. Stockholm, 2001 Jay Merrick: A Tale of two Model Cities. The Independent, London, March 12, 2001 Louise Crawford: Remembrances of Things Past. Variant, no.13. Glasgow, summer 2001 Fritz Göttler: Aufgewacht – Vom Alpsee auf den Mars: Die Filme von Matthias Müller. Süddeutsche Zeitung, München, July 23, 2001 Robert Clark: Manual. The Guardian, London, February 2, 2002 Tom Lubbock: Why Clíches are Important. The Independent, London, March 5, 2002 Daniel Kothenschulte: A Journey into the Light. private affairs, ex.cat., Dresden, 2002, pp.38-42 Morgan Falconer: The Present is Nowhere. Untitled, no.28, London, summer 2002, pp.50-53 Michael Althen: Geographie des Unsichtbaren. Frankfurter Allgemeine Zeitung, September 20, 2002 Gregor Muir: The Documentary Style – Men with a Movie Camera. Flash Art, no.228, Milan, January/February 2003, p.81 Roger Hallas: AIDS and Gay Cinephilia. camera obscura, vol.18, no.1, Durham/NC, May 2003 Stefan Berg, Michael Tarantino et al: Christoph Girardet – A Stolen Life. Found Footage 1991-2003, Freiburg i.Br., 2003 Adam Budak / Heike Munder: An Immense Museum of Strangeness. Bewitched, Bothered and Bewildered, ex.cat., Zurich/Gdansk, 2003, pp.24/25 Heike Munder with Matthias Müller. tema celeste, no.101, Milan, January/February 2004, pp.54-60 Kathrin Becker (ed.): Matthias Müller – Album. Frankfurt/M. 2004 Laura Cumming: How to make fissures of men. The Observer, London, May 9, 2004 Petra Schröck: Matthias Müller – Album. Camera Austria, no.86, Graz, 2004, p.86 Dominic Eichler: Matthias Müller. Frieze, no.84, London, 2004, p.140 Andreas Wilink: Die Einsamkeit der Milchstraße – Porträt des Filmemachers Matthias Müller. K.WEST, no.7/8, Essen, July/August 2004, pp.50-53 Federico Windhausen: Hitchcock and the Found Footage Installation “Phoenix Tapes”. Hitchcock Annual, Fairfield, CT, 2004, pp.100-125 Martin Herbert: Christoph Girardet & Matthias Müller. Art Monthly, no.10/04, London, 2004, pp. 24/25 Tina Jackson: Reflections of elegance. The Guardian, London, Metro Sheffield, September 13, 2004 Hans Schifferle: Im Wartesaal der Emotionen. Süddeutsche Zeitung, Munich, December 30, 2004 Aaron Yassin: Matthias Müller's Sleepy Haven, NY Arts, January 2005 Hans Schifferle: Der Vorhang ist gefallen. Süddeutsche Zeitung, Munich, May 12, 2005 Francisco Calvo Serraller: Vídeo-pasión. El País, Madrid, May 28, 2005 Stefanie Schulte Strathaus (ed.): The Memo Book – Films, Videos and Installations by Matthias Müller. Berlin/London/Toronto 2005 Antti Selkokari: Matthias Müller keräilee kuvia. Aamulehti, Tampere, March 12, 2006 Fred Camper: The Memo Book. Chicago Reader, Chicago, April 21, 2006 Hans Schifferle: Wenn Mastroianni weint. Süddeutsche Zeitung, Munich, May 11, 2006 Andreas Rossmann: Ein Isländer in Istanbul. Frankfurter Allgemeine Zeitung, Frankfurt/Main, May 11, 2006 Andreas Wilink: Reisen in das Unbewusste. Welt am Sonntag, May 14, 2006 Anke Groenewold: Die Magie der Bilder. Neue Westfälische, Bielefeld, August 22, 2006 Michael Althen: Hinter tausend Scherben keine Welt. Frankfurter Allgemeine Zeitung, August 31, 2006