There are solo booths and then there are solo exhibitions. ’s
is definitively the latter. The booth’s works break down the line between an original and a copy, foregrounded by a 2015 work recently shown at Müller’s recent survey at the KW Institute for Contemporary Art
. The piece features a self-portrait in pencil on paper of the artist posed after Courbet’s L’Origin du monde
and a piece of marble chiseled with the Wikipedia definitions of his first and last name. Nearly all the other works are created on pink sheets of A4 paper. “The first time I used the pink paper was many years ago due to the Financial Times
,” Müller says. In his current project, however, pink represents cherry blossoms and the short lives of samurai (symbols the color is tied to in Japan). The work includes a copied image of a Shinto shrine, a sacred temple that is traditionally rebuilt every 20 years. Müller has Xeroxed a piece of wood from this process of reconstruction 100 times, until only a gray block is visible (12 are on view at the fair). In other works, priced from €7,000–40,000, Müller addresses the theme of originality in various ways. In one, he draws renowned forger Elmyr de Hory and one of his faked masterpieces; in another, he has an assistant copy an abstract painting he’s created; in a third, he has recreated ’s
copy of ’s Olympia
(1863). “I had a copy of the Gauguin copy made in China,” says Müller. “And I included these devils that are from the only
is known for, and which he made many variations of.” Give yourself some time for the booth and its detailed wall texts. It’s about as close to a real art experience that a fair can offer.