{"id":3268,"date":"2025-10-22T14:43:09","date_gmt":"2025-10-22T12:43:09","guid":{"rendered":"https:\/\/preview.sammlung-wemhoener.com\/hasenheide-13\/ausstellungen\/michael-mueller-difficult-paintings\/"},"modified":"2026-06-24T17:50:54","modified_gmt":"2026-06-24T15:50:54","slug":"michael-mueller-difficult-paintings","status":"publish","type":"ausstellungen-h13","link":"https:\/\/www.sammlung-wemhoener.com\/en\/hasenheide-13\/ausstellungen\/michael-mueller-difficult-paintings\/","title":{"rendered":"Michael M\u00fcller \u2013 Difficult Paintings"},"content":{"rendered":"\n
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LOCATION<\/strong>Hasenheide 13<\/p>\n\n\n\n

CURATOR<\/strong>Philipp Bollmann<\/p>\n<\/div>\n\n\n\n

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The exhibition Michael M\u00fcller – Difficult Paintings<\/em> at Hasenheide 13 focuses exclusively on the artist’s painterly work for the first time.<\/p>\n\n\n\n

At the center of the exhibition is the seven-part, large-format series Difficult Paintings, in which M\u00fcller explores the possibilities of abstraction in the twenty-first century while simultaneously processing various tendencies of non-objective painting from the past century.<\/p>\n\n\n\n

The works are diptychs, which consist of two wings of different lengths. M\u00fcller begins to develop his painting on one of the two wings, which is then captured photographically in the next step\u2014partially edited via Photoshop\u2014and printed onto the other, still empty canvas. Both the photographic base and the original are further painted over, so that the image sections, which were almost identical at one point, remain largely hidden from the viewer.<\/p>\n\n\n\n

In the publication accompanying the exhibition, Larissa Kikol describes this approach as an “anachronistic condensation of different timelines in the same pictorial moment,” in which “the original is replaced as the first idea” through the painterly further processing.<\/p>\n<\/div>\n<\/div>\n\n

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\n Publications <\/h3>\n \n
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