2008 He contributes a ›momentary idea‹ to the exhibition
... 5 minutes later, again curated by Susanne Pfeffer, which aims to reflect the ›plastic power‹ (Nietzsche) of spontaneous expression. Works by Robert Barry, Thomas Demand, Ceal Floyer, Thomas Rentmeister and Andreas Slominski, among others, are shown in a generously spaced installation over three floors of the Kunst-Werke Berlin. Around the same time, the Neues Museum Weserburg in Bremen presents the exhibition Out of time, curated by Peter Friese, which combines the highlights from the museum’s holdings with works on loan from other collections. Müller’s contribution is a ›timeless effort‹. In the summer he stays in Northern Germany and studies labyrinthine irregularities; in relation to
ever-expanding complexity, he attempts to localize ›ultimate pivotal points‹ in this process in order to ›liquefy‹ his own ideas in the opposing streams of images that emanate from them. Liquids subsequently becomes the title of his first solo show at the Atelierhaus Friesenstraße in Bremen, where he focuses on things that have been reversed or inverted; he shows works such as Kernschatten and Zwei Scheintüren, which mark the entrance to a hermetically sealed mirror labyrinth that remains stubbornly elusive.

John Farlane writes on these works: Here, the method of real reflection is employed not to generate an image from paradoxical circumstances, but to explore a form of artistic practice aimed at the creation of a ›last picture‹ in the sense implied by Ad Reinhardt, which – as absurd as this may seem – will not in fact be the last one. For one of the characteristic features of ›last pictures‹ in serial procedures is their very repeatability – although they are singular, they do not stand alone: a perfect example of this is provided by conceptual works which are periodically reproduced in a near-identical form, which are continually perpetuated and create an endless sequence. (As yet unpublished collection of texts for a publication to accompany the exhibition Liquids in Bremen 2009).

He spends the winter months by the sea in Spain. During this time he writes a number of catalogue texts for artist friends,
re-reads and revises older texts on still relevant topics of contemporary art, and compiles these into a book entitled Aus der Nähe, which is published in 2009. In June of the same year he explores Bremen’s harbour area and photographs architectural relics from the 1960s, which he publishes as an edition of modified digital pigment prints, entitled Bremen Portfolio.

Together with Christian Haake, Horst Müller prepares the exhibition Fisherman’s Friends at the Kunstverein Cuxhaven. The two artists install their works in the exhibition space in such a way that the authorship of the various pieces remains unclear. They later travel to Riga, where they install selected works in the exhibition Gazing Into The Stars, curated by Inga Steimane at Riga Art Space.

Lying eggs
at Riga Art Space 2010