Christian Philipp Müller - - To Consider And Register

Im Geschmack der Zeit – das Werk von Hans und Marlene Poelzig

October 3 – December 20, 2003
Weydinger Strasse 20, Berlin

March 11 – April 23, 2004
IG Farben, Johann-Wolfgang-Goethe-Universität, Frankfurt am Main

September 11 – November 14, 2004
Architekturmuseum Basel

– Stage set with five architectural fragments, theater spotlights
– Poelzig Serie, 2003, 24 photographs, passe-partout, framed; each 19 x 15 inches
– Im Geschmack der Zeit, 2003, video, 16 min., camera: Madeleine Bernstorff
– Im Geschmack der Zeit, 2003, CD, 34:20 min.
– Filmkunsthaus Babylon, 2003, CD, 24:41 min.
– Rosa-Luxemburg-Platz und Bebauung Babylonblock, 2003, CD, 70:40 min.
– Various plans, documents, and photographs by Hans and Marlene Poelzig

Verein zur Förderung von Kunst und Kultur am
Rosa-Luxemburg-Platz e. V.

Portrait of the Museum as a Chair

October 25 – December 11, 2001 Museum as Subjects, The National Museum of Art, Osaka Portrait of the Museum as a Chair, 2001, temporary installation: 52 chairs, information sheets (Japanese / English), podium; total dimensions: 130 x 354 x 236 inches
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Naturalezas Muertas

February 13 – March 25, 1998
Galeria Oliva Arauna, Madrid

– Spanish Family of Ikea / US Family of Ikea, 1998, laserchrome; each 42 x 38 inches;
   collection of the artist
– The Party Girls, 1998, iris print, edition of 3; 40 x 56 inches
– The Entertainer, 1998, iris print, edition of 3; 40 x 56 inches
– The Collector, 1998, iris print, edition of 3; 40 x 56 inches
– What You Can’t See Is How Well It Goes with Your Student Loans, 1998, props on a
   base, Plexiglas, Ikea table “Lack;” 59 x 23 x 23 inches
– You’ll Probably Never Need It, 1998, props on a base, Plexiglas, Ikea table “Lack;”
   68 x 23 x 23 inches; Themistocles and Dare Michos, San Francisco
– Wenn Ansprüche wachsen, 1998, props on a base, Plexiglas, Ikea table “Lack;”
   59 x 23 x 23 inches

Courtesy of Galeria Oliva Arauna, Madrid

News and Gifts

November 1995
American Fine Arts, Co., New York

Preliminary Room
– News and Gifts, 1995, silkscreen on laminated chipboard, 52 x 36 inches

Room 1
Installation: six exhibition displays, chipboard, laminated, silkscreen, each
66 x 36 x 18 inches
– Newsstand Local, 1995; Private collection, Berlin
– Newsstand National # 1, 1995
– Newsstand National # 2, 1995; destroyed
– Newsstand International # 1, 1995; Barbara and Howard Morse, New York
– Newsstand International # 2, 1995; Themistocles and Dare Michos, San Francisco
– Newsstand International # 3, 1995; collection of F. C. Gundlach, Hamburg

Room 2
Installation: two pyramids for products, chipboard, laminated; each
72 x 72 x 57 inches
– Pyramid 1, 1995
– Pyramid 2, 1995

Interpellations

April 16 – May 7, 1994
American Fine Arts, Co., New York

Exhibition Space
Six display cases, chipboard, painted; Plexiglas, bookracks, each 46 x 48 x 18 inches;
total dimensions: 46 x 144 x 36 inches
– Vitrine 1, 1994, four English-language travel guides, manipulated; Private collection,
   New York
– Vitrines 2, 3, 1994, four English-language travel guides each, manipulated
– Vitrines 4, 5, 6, 1994, four German-language travel guides each, manipulated

Office of the Gallery Owner
– Tablevitrine, 1994, two English-language travel guides, manipulated; chipboard,
   painted; Plexiglas, bookracks; 18 x 26 x 6 inches; Themistocles and Dare Michos,
   San Francisco

The Family of Austrians

October 19 – November 30, 1993
Galerie Metropol, Vienna

Display Window
– The Family of Austrians, 1993, reworked exhibition catalogue The Family of
   Man (1955), linen slipcase, embossed; Sammlung Karola Grässlin

Room 1
– The Family of Austrians 1:10, A, 1993, model on base, MDF, painted; Plexiglas,
   seven black and white photographs, adhesive letters, wire; total dimensions:
   51 x 27 x 15 inches; Ernst Ploil, Vienna
– The Family of Austrians 1:10, B, 1993, model on base, MDF, painted; Plexiglas
   seven black and white photographs, adhesive letters, wire; total dimensions:
   51 x 27 x 15 inches; Georg Kargl, Vienna

Room 2
– Untitled, 1993, black and white photograph, passe-partout, framed; edition of
   three; 20 x 22 inches
– Untitled, 1993, table made of pear wood, linoleum, steel, mail order catalogue
   (traditional fashion, 1993 season); 71 x 39 x 37 inches
– Three display cases with traditional Bregenzerwälder women’s costumes; collection
   of the Institute for Costume Studies, Hochschule für Angewandte Kunst, Vienna
– Monitor with two educational films about traditional women’s costumes from
   Bregenz by Annemarie Bönsch; Österreichisches Bundesinstitut für den
   Wissenschaftlichen Film, Vienna

Room 3
– The Family of Austrians, 1993, installation: seven black and white photographs,
    enlarged; 275 x 153 inches; Ernst Ploil, Vienna

A Sense of Friendliness, Mellowness, and Permanence

November 22 – December 23, 1992
American Fine Arts, Co., New York

Exhibition Room
– Untitled, 1992, felt curtain, faux leather, brass; two components; 90 x 65 /
   90 x 85 inches, The Museum of Contemporary Art, Los Angeles
– Maître d’Stand, 1992, oak, American Fine Arts menus (number variable), guest list,
   yellow pages and two telephone books from New York, mobile telephone);
   55.5 x 19.25 x 18.5 inches; The Museum of Contemporary Art, Los Angeles
– Disguise, 1992, wooden planks made of oak, wall lamps made of brass and glass;
   height: 55 inches, width: variable; partially owned by: Themistocles and Dare Michos,
   San Francisco; The Museum of Contemporary Art, Los Angeles; collection of
   Peter Weibel; Sammlung Wiese, München

Office of the Gallery Owner
– Ma Bibliothèque, 1992, wall paper, oak, artists books, cognac carafe, gilded;
   95 x 79 x 13 inches; Collection Barbara and Howard Morse, New York

Fixed Values

December 14, 1991 – January 19, 1992
Palais des Beaux-Arts, Brussels

Rotunda
– The King’s Welcoming Speech, 1988, monitor with video on base, 3 min.; Sammlung
   Karola Grässlin

Room 1
– Vitrine, 1991, wooden display case, objects from performance labeled with their
   auction number (photo originals from Germany, German peaked cap, entry tickets,
   men’s shoes, roll of wall paper on top of a page with a “Rémy Martin” ad, clover,
   Le poème électronique by Le Corbusier, drawing Progressive Stimulierungskurve,
   tape recorder, color photograph with cover, box with glued-on piece of newspaper);
   Collection Bruno van Lierde, Brussels

Room 2
– Sich vordrängender Hintergrund, 1991, paper, mechanism for hanging, rolled-up
   length variable; 143 x 1181 inches; courtesy of Galerie Christian Nagel,
   Cologne / Berlin
– Two Important Dates in My Life, 1991, acrylic on canvas, two parts 10 x 13 inches /
   61 x 76 inches; Daled Collection, Brussels

Room 3
– Installation: fabric wall covering, 16 halogen spotlights, felt and signs with auction
   numbers
– Köln–Düsseldorf, 1990, 16 Plexiglas cubes, disassembled, varying dimensions;
   Sammlung Karola Grässlin

Auftakt

April 26 – May 26, 1990 The Köln Show, Gallery Building at Venloer Strasse 21, Cologne Stairway – Auftakt, 1990 (with Fareed Armaly), four loudspeakers, tapes (Muzak Brussels) Listen audio....
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Eh! bien prenons la plume

September 3 – September 24, 1988
Arti et Amicitiae, Amsterdam

Rooms I, II, III, VI, VII
Wallpaper with silver
motifs of St. Luke on a blue background

Room III
– The King’s Welcoming Speech, 1988, monitor and video on base, 3 min.; Sammlung
   Karola Grässlin
– Reconstruction of the original architecture in MDF, curtain fabric

Room VI
– Architectural intervention in wood, painted
– Group picture (gift of 15 Arti et Amicitiae members to King Wilhelm III, 1874)
– Bench by Hendrik Petrus Berlage, 1893

Stairway / Club Rooms
– Site-specific works by new Arti et Amicitiae members: Fortuyn/O’Brien, Aldert Mantja,
   Rob Scholte, Ton van Summeren, Martin van Vreden, Peer Veneman

– Eh! bien prenons la plume, 1988, artist book (96 pages); 6.5 x 9.5 inches,
   edition of 1000

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