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 Kaspar Müller, Untitled, 2011 Photograph: Serge Hasenböhler, 2014, Neuer Betrieb |
 Kaspar Müller [...] Müller is of course familiar with those artistic methods—Pop Art, for example—that were using ironic exaggeration to engage with consumerism, imitation, advertising, and the world of commodities long before he was born. Or take the design of Memphis, which was neither discreet nor classical, and did not even respect the invisible boundary between art and design! Not by chance do Müller’s free-blown glass balls recall the glass objects which the best-known glass-blowers of Murano used to make for collectors who were anything but bound by the “discreet charm of the bourgeoisie.” His garlands of glass balls are similarly loud, garish, impertinent—visually attractive as interior décor, but definitely not elegant. Invariably composed in the same way, they attach special importance to repetition and seriality, both of which concepts can of course be brought to bear on far more than the discussion of these glass objects and are in fact central to the structure of numerous works of contemporary art. Richard Wollheim, who in 1965 coined the term Minimal Art, used it to describe what he saw as the tendency among contemporary artists to pare down their works to the barest minimum, in terms of both form and content. These days, the method of lining up simple, purely decorative, hollow shapes can also be used to open up new readings in situations far removed from art. Roman Kurzmeyer, 2014 (Translation: Bronwen Saunders)  back...
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