Stian Ådlandsvik & Lutz-Rainer Müller – Silk & Sour

Stein mit Vollausstattung
Lutz-Rainer Müller
Stian Ådlandsvik
Marc Pepper
Thomas Woll

permanent Installation
Opening Saturday April 5 at 2pm

Ab dem 05. April 2014 weht in Dortmund ein frischer Wind, denn der Dortmunder Kunstverein weiht ein neues Kunstwerk im öffentlichen Raum der Dortmunder Innenstadt ein. Der «Stein mit Vollausstattung» ist eine partizipatorische Skulptur für die Dortmunder Innenstadt. Er besteht aus einem großen Kunstfelsen und einem Mast mit Windrad und Solarpanelen. Der gewonnene Strom wird den Passanten kostenlos zur Verfügung gestellt. Mit der Energie wird zudem ein Router betrieben, der offenes WLAN bietet. In Anlehnung an den Begriff der «Vollausstattung», der aus der Automobilbranche bekannt ist, wurde die Skulptur mit Gadgets ausgestattet, die ein Angebot an ihre Benutzer machen sollen. Entwickelt wurde sie von den Künstlerduos Stian Ådlandsvik und Lutz-Rainer Müller sowie Mark Pepper und Thomas Woll auf Einladung des Dortmunder Kunstvereins.

Diese Skulptur steht nicht nur im Mittelpunkt der Dortmunder Innenstadt, sondern im Zentrum einer Reihe von aktuellen Debatten. Neben der Diskussion um erneuerbare Energien und Fragen nach der kostenlosen Nutzung des Internets für jedermann, visualisiert diese Skulptur die Nutzung des öffentlichen Raumes als Ort der Kommunikation. Damit bietet sie eine künstlerische Reflexion von Teilhabe an der Energiewende und ihren partizipatorischen Möglichkeiten für die Bevölkerung.


Stian Ådlandsvik & Lutz-Rainer Müller – Silk & Sour

Lutz-Rainer Müller
Stian Ådlandsvik

May 24 - June 22 2013
Opening Friday May 24 at 7pm

In Silk & Sour Ådlandsvik and Müller utilize their collaboration and their own bodies as a point of departure to revisit photography, sculpture and abstract painting. There is a certain performative aspect in the creation of the works for the exhibition, in which the duo reflect on both themselves and the artist role – using irony and wit. The works show fragments of the situation of creation revealing the duo’s alluring collaborative nature.

CAT scans of the radius and luna bones from the artists’ arms are transformed into porcelain salt and pepper shakers, cocktails into paintings, and evening suits into abstracted photographs. In addition, the office chair of the gallery has been remodeled; fitted with a stove and connected to the gallery door, the artists have ensured themselves that the gallerist will have a warm alert every time visitors arrive.

Despite that the traces of the artists’ bodies and performances are profoundly present in the art works, the self becomes deconstructed and nearly eliminated.

Stian Ådlandsvik (b.1981) and Lutz-Rainer Müller (b. 1977) have worked together since 2006, and both hold degrees from the Oslo Academy of Fine Art. Ådlandsvik also attended the Hochschule für bildende Künste, Hamburg. Müller attended the Art Academy of Bergen, and additionally achieved a degree from Muthesius Kunsthochschule in Kiel. As a duo they have exhibited broadly in Europe. They live and work in Oslo and Leipzig.

The exhibition is accompanied by a paper sharing its title, featuring an essay written by Jan Freuchen, to be released on the opening night.

Solo Shows






Group Shows

Stein mit Vollausstattung

Kunstverein Dortmund
with Stian Ådlandsvik, Mark Pepper and Thomas Woll

Hinterland/Bakomland, Performance

Oslo Kunsthall

with Stian Ådlandsvik

You only tell me you love me when you‘re drunk
Hordalands Arts Centre
with Stian Ådlandsvik

Still life with modern guilt
MOT international, London
with Stian Ådlandsvik

Still life with hyena, lotus and cave
17 Programm Kunstnernes Hus, Oslo
with Stian Ådlandsvik

Devils Haircut
berlin - Raum für zeitgenössische Kunst, Dresden

If it won’t fly, try using it as a reducing machine
Galerie HfbK, Elektrohaus, Trottoir
and St.Pauli Kunstverein, Hamburg

with Stian Ådlandsvik

Maximal Speed is a State of Rest
PIEROGI Leipzig, Leipzig










Me Me Me in History
Cluster, Berlin

Objet Perdu, with Jan Freuchen
PIEROGI Leipzig, Leipzig

GDAE (reine Quinten)
Cluster, Berlin
with Thimo Plath

sketches for the meantime
Fotogalleriet, Oslo
with Stian Ådlandsvik

HAMC jubilee
The National Museum, Oslo
with Stian Ådlansvik and Frode Markhus

Pimp my ride
Galerie Westgermany, Berlin
with Jan Freuchen


Group Shows





Solo Shows

Festspiele Mecklenburg Vorpoomern

(Mestlin)/Knoefel and Friends, Mestlin

Bergen Art MuseumBergen

Der Blitz schlägt nie zweimal am selben Ort ein
Temporary Gallery, Köln

Fische hinterlassen keine Spuren
Künstlerhaus Bremen

Existence in a Letter
Cluster, Berlin

New works
galleri Erik Steen, Oslo
with Jan Freuchen

Hela Havet Stormar
PIEROGI Leipzig, Leipzig

Obergeschoss dritter Finger rechts
Ballhaus Ost, Berlin

IAAB Project of the city of Basel








Brix Galerie,Berlin

Be One Get Three
Cluster Produzentengalerie, Berlin

Kunstforeningen Kristiansand

Alice and Me
Cluster Produzentengalerie, Berlin

Galerie Westgermany, Berlin

still life with modern guilt
still life with hyena,lotus and cave
you only tell me you love when you're drunk
flaneur II
chanel altruiste
devil's haircut
maximal speed is a state of rest
mememe in history
sketches for the meantime

objet perdu
renegade cloud

works r drumkit rr

  drumkit, 2011
series of sculptures

different sizes

Bent metal from car wrecks that had been involved in accidents were collected and combined with parts of drum sets

r r r r r

works bakomland

  bakomland, 2011
with Stian Ådlandsvik

Public Performance for the opening of
a new pedestrian bridge, Oslo Kunsthall


works rects still life with modern guilt

still life with modern guilt, 2010
with Stian Ådlandsvik

exhibition at gallery Mot international, London

car bonnet, polyamide copies of artist's arm bones, suitcases, wallpaper, burnings

s s s s s s

works rects still life with hyena, lotus and cave

still life with hyena,lotus and cave, 2010
with Stian Ådlandsvik

Installation at W17 studio, Kunstnernes Hus, Oslo

polyamide replicas of artists armbones,
soil, studio inventory

s s s s s s

works rects you only tell me you love me when you're drunk


you only tell you love me when you're drunk, 2010
with Stian Ådlandsvik

s s s s s s s s s s s s s s s s s s


works rects flaneur II

    Flaneur II, 2010

Installation at temporary gallery, Cologne

gallery wall (pressboard), rubber

420 x 890 x 2 cm

One of the temporary gallery's walls was
taken off and transported to a tuning meeting
in Wattenscheid where it was used as an
underground for car drifting.
Afterwards the wall pieces were sawed into
squares that were then differently put together
again inside the gallery.

s s s s

works rects chanel altruiste

    chanel altruiste, 2010

Installation (intervention)

Chanel ÉgoÏste

Heating water contaminated with Chanel ÉgoÏste perfume is leaking out of a heater inside the exhibition space.
Apart from the leak the heating water runs through the whole building as part of a heating system somewhat equivalent to the human bloodsystem.

Part of the group exhibition "Fische hinterlassen keine Spuren" at Künstlerhaus Bremen (2010)

s s s

works rects devil's haircut

    devil's haircut, 2010

exhibition at berlin
- raum für zeitgenössische Kunst Dresden

s s s s s s s s s s s s s s

works rects maximal speed is a state of rest rects text

Maximal speed is a state of rest
Leif-Magne Tangen, 2008

Lutz-Rainer Müller has again set up an elaborate project. True to his own tradition, the exhibition space operates as a stage, a site for action and contemplation rather then a display site for already finished and closed thoughts. In this way, Müller references what Brian O'Doherty describes in his book Studio and Cube (2007) that the cube (the exhibition space) is a "frame or window between the inside, the artist's private sphere, and the outside, the public".

Müller`s exhibition plays out in four acts, overlapping and reflecting a great interest for the superfluous, the irrational or Dadaistic if one likes. They are all about bringing something back, either in reality or metaphorically - and they are all based on different historical and literary figures. 

The first act is Murphy, based on Samuel Beckett`s 1938 novel of the same name. Murphy finds his moment of zen being tied up, naked, in his rocking-chair, appeasing his body. The protoganist operates as a lone figure, resisting the presence of a world outside of his own.
This fascination with "doing nothing" as a state of production has spawned several ideas and project proposals for the show, most of which will never see the light of day. 

The second act, Sarah`s smile is based on the myths around the "Divine Sarah Bernhardt". Feted to be the best actress in the history of the world in her heyday (in the early 20th century) for theatre, Bernhardt played almost exclusively male parts. And so it was impossibile to ever capture her performance or, even, to see her smile. This reflects the inherent impossibility within all of Müller's works. 

Another idea that will be delt with in Müllers works is the notion of our world lacking both a single truth transcending its respective contexts as well as one might be inferred. Any statements, expectations and meanings are therefore provisional. A flying hat refers to Hans Richter's Ghost before breakfast (vormittagsspuk), 1929. The oversized hat (made in copper) will hover within the space, fall down (in slow motion) any give time and might even end up in a nearby lake.

The fourth (and possibly the last) act of Müller`s project, is that of a retrieval. Müller is currently in Amsterdam where he has located the canal that Bas Jan Ader cycled into in his piece FALL II, 1970. Müller is there to fish up as many bikes as possible to transport back to Leipzig for the show. This action operates as a false archaeology, a symbolic action that wants to pay its respect to the past as well as the future. It also resonates with his long term project with Jan Freuchen (Objet Perdu), last shown in Pierogi last year.

This is possibly the first exhibition by Müller that shows the multiple layers of his interests and telling various stories at once in an attempt to generate narratives. He dwells on the impossible as in his search for Bas Jan Ader's bike in the canal and in contemplating the smile of Sarah Bernhardt. Also his profound interest in escapism and solipsism are expressed very clearly here. The show will not only have newer works but parts of elder works will be shown. There will be a signed and numbered limited edition catalogue available. 

works rects maximal speed is a state of rest rects pictures  


maximal speed is a rest of state, 2008

solo show at Pierogi gallery, Leipzig

s s s s s s s s s s s s s s s


works rects mememe in history  

    mememe in history, 2008

s s s s s s s s s

works rects sketches for the meantime  

    sketches for the meantime, 2006
with Stian Ådlandsvik

temporary installation at Fotogalleriet, Oslo

fluorescents from gallery ceiling, stolen park bench, stolen trash bin, divers materials

s s s s s s s s

works rects objet perdu  

    objet perdu, since 2006
with Jan Freuchen

transformative sculpture project

mixed media

s s s s s s s s s s s s s s s s s

works rects streetlight  

    street light, 2005

temporary installation at Galleri No. 9, Oslo

mirrors, divers materials

Six mirrors installed to steal the light off the
street and lead its reflection over a house and
through the backyard into the gallery room,
which was situated in the basement.
The exhibition was unconsciousely turned on
and off by the city of Oslo.

s s s s s s s

works rects renegade cloud  

    renegade cloud, 2003

temporary installation and performance
at kunstrom, Bergen

The framed picture inside the exhibition space depicts the artist's mother photoraphed by his father. For the opening night the artist
invited a member of the local renegades club to show up and performe a burn out with his motorcycle inside the space.

s s s s s s

works rects signature

    signature, 2003

temporary installation (intervention)

inscription in acre with a traktor

about 100 x 1100 m

s s s


1999 - 2005 Muthesius Kunsthochschule, Kiel

2003 The Art Academy in Bergen (exchange)

2004 - 2006 National Art Academy, Oslo

Lutz-Rainer Müller

phone: +49 - 179 - 6764522

Karl-Heine-Straße 26
04229 Leipzig