Ulrike Müller/Evie K Horton

Name: Is Painting a Language? Or is it Mud?
Start: 2024-07-22T00:00:00+02:00
End: 2024-08-03T23:59:59+02:00
Location: Hohensalzburg Fortress

Is Painting a Language? Or is it Mud?

22 July–3 August 2024

Hohensalzburg Fortress

Ulrike Müller, In Pieces, installation view, Galerie Kunst im Traklhaus, Salzburg, 2023. Photo: Rudolf Strobl

Application

Medium
Painting

Teaching language(s)
English (German possible)

What to bring
Enough supplies to work intensely for 2 weeks in whatever medium you wish, notebook, sketchbook.

Requirements
None

A maximal number of participants
20

Participation fee
670 Euro (reduced 495 Euro)

This course aims to undo conventional ways of describing and categorizing painting and to ask how language can become a generative tool in the studio—and when it has to step aside to let painting bodies act as and with matter.

As an object, painting has a material and linguistic problem: The painted thing will never be the thing itself. An image of mud, a sensitive curve; the painting body enacts the depiction of another body; a sign for a sign for a sign. Painting is troubled by language and bothered by naming. Abstraction is cramped by flatness, disembodiment, and repression; representation by illusion, figuration, and psychology. What if the material, formal and historical possibilities of painting are not fixed categories mapped onto the work but rather a toolbox for their own dismantling?

Students can expect a mix of visual and textual inputs, group conversations and individual consultations. Together, we will contemplate the possibilities of painting beyond—and in the space between—conventional binaries such as concept vs. form, figuration vs. abstraction, depth vs. flatness, and observation vs. imagination. Participants will explore working with and against fixed categories with the aim of gaining a deeper understanding of what they already do and how to develop a more capacious painting practice.

Ulrike Müller mobilises vocabularies of colour and shape that are politically and emotionally charged and encourage figurative readings. Alongside small-scale paintings in vitreous enamel, Müller also produces expansive wall paintings, publications, prints and textiles.

Solo Exhibitions
2023 For Now, Meyer Kainer Gallery, Wien. 2022 On Edge, Vielmetter Gallery, Los Angeles, CA (US). 2021 Moving Parts, Callicoon Fine Arts, New York, NY (US)
2018 Ulrike Müller: Container, curated by Eva Birkenstock, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (DE). 2015 Ulrike Müller: The old expressions are with us always and there are always others, curated by Manuela Ammer, mumok - Museum Moderner Kunst, Stiftung Ludwig Wien

Group Exhibitions
2022 The Animal Within, curated by Manuela Ammer and Ulrike Müller, mumok - Museum Moderner Kunst, Stiftung Ludwig Wien. 2019 May You Live in Interesting Times, curated by Ralph Rugoff, 58th International Art Exhibition, Venice Biennale, Venice (IT). 2018 The 57th Carnegie International, curated by Ingrid Schaffner, Carnegie Museum of Art, Pittsburg, PA (US). 2017 The Whitney Biennial, curated by Christopher Y. Lew and Mia Locks, The Whitney Museum of American Art, New York, NY (US)

Recent reviews and conversations
What Kind of Zoo is the Museum? Conversation between Manuela Ammer and Ulrike Müller, mumok insider, September 2022. Smith, Roberta. 4 Art Gallery Shows to See Right Now: Threads, The New York Times, February 24, 2021. Amy Zion & Ulrike Müller.The Conference of the Animals: Conversation between the Curator Amy Zion and the Artist Ulrike Müller, Springerin, Winter/Spring-2020/2021. Handy, Bruce. Can Kid Art Be Real Art?, The New Yorker, Talk of the Town, December 14, 2020. Gregg Bordowitz. It’s a Small World (After All) Greg Bordowitz on “The Conference of the Animals”, ArtForum, March 2020 issue. Stillman, Steel. Ulrike Müller: In the Studio, Art in America, November 2019. Nadja Abt, Charged Freight, Texte Zur Kunst, March 2019, Issue No. 113

Education
1996 Academy of Fine Arts, Vienna
2003 Whitney Independent Study Program, New York, NY (US)

Teaching Experience
2014-2021 Co-chair of Painting, Bard MFA Milton Avery Graduate School of the Arts, Annandale-on-Hudson, NY (US)
2019 Alex Katz Chair in Painting, Cooper Union, New York, NY (US)
2019 Visiting Critic, Yale School of Art, New Haven, CT (US)
2016 Adjunct Faculty, Cooper Union, New York, NY (US)
2014-2015 Visiting Critic, Yale School of Art, New Haven, CT (US)
2014 Adjunct Faculty, Painting Department, Yale School of Art, New Haven, CT (US)
2012-2013 Faculty, Bard MFA Milton Avery Graduate School of the Arts, Annandale-on-Hudson, NY (US)
2008-2013 Faculty, VCFA, Vermont College of Fine Arts, Montpelier, VT (US)
2007-2008 Guest Lecturer, Academy of Fine Arts, Vienna

https://www.bridgetdonahue.nyc/artists/muller-ulrike/works/

Evie K Horton is a painter living in Brooklyn, NY. Through recursive and associative modes of depiction, her work explores the ways in which painting is troubled by language, romance, anxiety, embodiment and contradiction.

Solo and Two Person exhibitions
2019 At the end of the day (a necklace is a circle or the other way around), with Rory Rosenberg, 321 Gallery, Brooklyn, NY (US)

Group Exhibitions
2019 Say Ever Moves: Bard MFA Class of 2020 Thesis Exhibition, Bard College Exhibition Center, Red Hook, NY (US). 2018 Working Space, Booklyn, Brooklyn, NY (US). 2013 Jahresausstellung, Klasse Prangenberg, 2013, Akademie der Bildenden Künste, Munich (DE). 2012 For Norbert: Jahresausstellung 2012, Akademie der Bildenden Künste, Munich (DE)

Education
2020 MFA, Bard College, Annandale-on-Hudson, NY (US)
2012 Klasse Prangenberg, Akademie der Bildenden Künste, Munich (DE)
2012 BFA, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ (US)

Teaching Experience
2021 - 2022 Part time lecturer, Advanced Painting, Painting II and III, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ (US)

www.eviekhorton.com

Ulrike Müller. Photo: Ulrike Müller
Evie Horton. Photo: Lilin Karin