Kaspar Müller studied at Hochschule für Gestaltung and Kunst Basel as well as at University Basel. His work has been exhibited at Société Berlin, MAMCO Geneva and at the Sculpture Quadrennial 2016 in Riga. For his artist book Schätze der Erinnerung Müller was awarded the Most Beautiful Swiss Books Award in 2015. He inhabited the generic image of Lake Zurich and although the images are “his”, their interchangeability with any lakeside photography known from a collective memory, produces an opaque identity.
What fosters art?
Who is supporting you?
I think support is not only various but also somehow subjective. Fortunately, many different people are and have been supporting me in different ways and through different relationships: family and friends, artists, technicians, gallerists, curators and collectors, foundations, government and private.
A great support for me as an artist is always visibility and the freedom and trust that can come with it. Support is ideally not bigger than the art. Sometimes it’s absolutely money, sometimes an opportunity, sometimes a talk. Inspiring people and inspiring art are ideally the best support, but its more complicated. Everyone hopes to profit from another, because all is connected, that’s why it’s so delicate. Still, if someone makes an effort to step up for someone and gives support, however form this might be, it can make a big difference, and one should do the same as well as an artist of course. This system is so much based on people – compared to the art itself, it’s not very abstract. I still struggle to accept that sometimes. Now that I have a family myself and two kids, I think this also made a big difference to how I see support in general.
Does financial support expand creativity?
I think it definitely expands the circumstances for creativity. When you struggle just to pay bills and rent, there is very little space for creativity, at least on a long-term. Not just for artists. In our system money makes creativity possible, because it facilitates access and mobility, and that is a problem. I think financial support therefore is very important and reasonable, it has actually become almost indispensable, not just for artists. It has always a political dimension. Certainly, on a different level financial support expands the possibilities of realising creative ideas, and there is an other criteria to the idea of support
Must art be sellable?
Of course not, but maybe sellable is the wrong word. Maybe: must we sell art? I don’t think too much about whether or not art is sellable, and there are many other things that might make it desirable. Once its there, I am convinced if someone wants to buy it, no matter what it is, one will try to find a way to negotiate a purchase or exchange, even for something completely immaterial. That’s also interesting. But if it’s the concept and spirit of the work, the artist can also offer another ways of distribution or even refuse. Its better not to think about if its sellable, or if it’s about selling, rather to think how.
Should art belong to the private or public?
Art as such belongs to everyone. There is art everywhere. Everyone can also possess art. It is a bit the question what kind of art. I don’t want to chicken out on this question, but it implies a bit that it is about certain pieces of art. It is important that art has a circulation, physically and spiritually, both private and public can be part of this.