↓ *** various projects, commissions and collaborations *** ↓

↓↓ 2024 Photo etchings ↓↓ 2024 Image commission for Glean Magazine ↓↓ 2022 Fashion Time! ↓↓ 2021 Labyrinths Prints (men/spirals and columns) ↓↓ 2020 earrings for Bog ↓↓ 2019 Comfy? ↓↓ 2018 Cancelled Book ↓↓ 2018 ground zine ↓↓ 2017 arbre de vie ↓↓ 2016 Hammer ↓↓ 2016 Mimi Magazine ↓↓ 2016 Yappy's Copy Shop ↓↓ 2015 Grater Dress ↓↓ 2015 Our House in the Middle of Your Street ↓↓ 2014 Image commission for Texte zur Kunst Popping Pollock (Manual) ↓↓ 2014 Soap Dish (Bélo) ↓↓ 2013 SOLD ↓↓ 2012 Balcuzzi ↓↓ 2010 Kiss-You-Through-The-Phone ↓↓ 2008 polystyrene sculptures ↓↓

<< Photo etchings >>

2023

Untitled, 2023. Small series of photo etchings. 9,4 x 12,4 cm oil ink on 300g Zerkall paper.
Each print is an individual edition of 4 prints.

Each small print depicts a photograph of intimate 'bed characters' made with pyjamas and shoes and other items that are lying around. Each character is wearing a printed top with the word 'Hormones' which refers back to the design for a poster print edition ("Hormones") that was made in 2020, creating some sort of self-referential loop in the way that branding tends to do. Digital photography is integrated into the quality and tactility of the analogue photogravure medium.

<< Glean Magazine >>

2023

Winter 2023/2024 Issue of Glean magazine.

Image commission from the magazine for 3 image spreads from various recent/current projects, HERMANY, "Fashion Time" and PMS. With a text by Jessica Gysel.

<< FASHION TIME! >>

2022

It’s Fashion Time!!!


Fashion, fashion, fashion – what is it even? Is it don’t believe the hype or is it high aesthetics, is it in or is it out, is it stretchy, is it straight, is it ever worth the WAIT?? And the fashion system: is there really a reason when everything is directly out of season?

One thing we do know is that fashion can be ANYTHING and fashion can be EVERYWHERE and NOWHERE at the same time. Fashion is ELITIST, fashion is ASPIRATIONAL, fashion is wannahave and wannabe, but we all know that you don’t need to be an expert to jump on the fashionista train, or actually, that we’re all fashion experts!

Maybe calling what we will do in this project FASHION is just an incentive to be hyper-creeaaative and inspired to make things, beautiful things, serious things, funny things, fast things, laborious things, crafty things, trashy things, wearable things, impossible things, things we need, things we dream, things we don’t want to go onto a gallery wall but that we want to carry on our bodies.

Fashion that is furniture, fashion that is food, fashion for friends, fashion that is chunky, fashion that is funky, fashion that is superfluous, fashion that goes deep, fashion that connects us, fashion that’s too small, fashion that’s for no one, and a fashion that’s for ‘all’.

In this time where artists are sponsored and dressed by fashion brand friends and buddies, where excessive garments represent a network of insiders and outsiders, working class is fetishized, in a time when trends are developed so close to us and digested so quickly – what kind of garments are relevant to us?

-------------------------------------------------------------------------------------------------------------- “Fashion Time!” was a collaboartive project lead by the artist Marlie Mul that took place in an educational context as part of the Work.Master MFA programme at HEAD–Genève. Marlie Mul wrote the text in September 2021 as a prompt for the project, inviting students to work with her on a research project that took as its starting point the potential inherent in the spectacle and materiality of the fashion event for art making and display. ----------------------- The outcome of this project was a one-day event and an exhibition in the form of a fashion boutique at the project space Mala in Lisbon in May 2022. This text became the manifesto for the project.

“Fashion Time!” was inspired by the project “HERMANY hosts: Fashion Café” - see the HERMANY page for more information.

--------------------------------------------------------------------------------------------------------------  “Fashion Time!” is a project by Marlie Mul that took place in May 2022, and done in collaboration with: Alpha Sy (clothes), Azize Ferizi, bambi (clothes and accessories), Charlotte Durand (drinks), Clara Roumegoux (graphic design and signage), Clarisse Dagod (coiffure nul hairdo's and make-up), Federico Nipoli (film), Jeremy Dafflon (clothes and accessories), Marlène Charpentié (giant shoes, giant handbag), Mina Squalli-Houssaïni (soundtrack), Sarah Benslimane (accessories), Yann Biscaut, Zahrasadat Hakim (clothes and accessories). ----------------------------------------------------------------------------------------------------------------------------- Thank you to Mala (Henrique Loja and Sofia Montanha), HEAD–Genève, Beatriz Pereira, and all the models!

<< Labyrinths - Column, Walls, Spheres, Spirals (men prints) >>

2021

These 2 works are part of a series of 6 different prints that were printed at the Frans Masereel Centrum in Kasterlee (BE). They were exhibited in 2021 at Centre de la Gravure et de l'image imprimée in La Louvière (BE) and at Etablissement d'en façe, Brussels.

Top row left to right:
- "Labyrinths (Wall of Columns)", 2021
screen print on acid free paper, 105 x 76 cm
Ed. of 1 + 1 AP.
- "Labyrinths (Two Columns)", 2021
screen print on acid free paper, 105 x 76 cm
Ed. of 1 + 1 AP.
- "Labyrinths (One Column)", 2021
screen print on acid free paper, 105 x 76 cm
Ed. of 1 + 1 AP.
- "Labyrinths (Column and Sphere)", 2021
screen print on acid free paper, 105 x 76 cm
Ed. of 1 + 1 AP.

Bottom row left to right:
- "Labyrinths (Wall Square Spirals 2)", 2021
screen print on acid free paper 105 x 76 cm
Ed. of 1 + 1 AP.
- "Labyrinths (Large Square Spirals)", 2021
screen print on acid free paper 105 x 76 cm
Ed. of 1 + 1 AP.
- "Labyrinths (Wall of Square Spirals 1)", 2021
screen print on acid free paper 105 x 76 cm
Ed. of 1 + 1 AP.
- "Labyrinths (Border)", 2021
screen print on acid free paper 105 x 76 cm
Ed. of 1 + 1 AP.

<< earrings for BOG >>

2020

Earrings with small glass vials filled with UNDER-BED-DUST COLLECTED IN THE YEAR 2020.

--- A series of wearable items commissioned by the fashion blog BOG for their "Issue of Dust", published in 2020.

-> find link to the BOG blog via this LINK - turn up the volume!

All photo's by BOG.

<< comfy? >>

2019

'comfy?' 88x63 cm, edition of 20. Silver, brown, orange, yellow oil inks on black oil ink, edition of 20, very very matte like powder, colours so magic irl.

Invited by the artists Slavs & Tatars to make the print edition for the 33rd Ljubljana Biennial of Graphic ArtsEdition and commissioned by MGLC/The International Centre of Graphic Arts Museum, this work is available via MGLC in Ljubljana or via me.

Also available as a set of 4 different coloured and unique prints (see exhibition views). Each print is 88x63 cm each.

Presented during Crack Up – Crack Down - The 33rd Biennial of Graphic Arts, curated by Slavs & Tatars, The International Centre of Graphic Arts (MGLC), Ljubljana, Slovenia, May-September 2019, and as a part of Crack Up – Crack Down, Ujazdowski Castle Centre for Contemporary Art, Warsaw, Poland, 2020.

<< CANCELLED book >>

2018

TEXTS BY MARLIE MUL, LINDA STUPART AND GEORGIA HORGAN.

“CANCELLED" (published Dec 2018) addresses Marlie Mul's public cancellation of a solo exhibition due to impossible working circumstances, that had been planned to open in May 2017 at the Gallery of Modern Art (GoMA) in Glasgow, Scotland.

Designed by Maximage, the book brings together photographs of the cancellation’s billboards, and essays by Marlie Mul, Linda Stupart and Georgia Horgan.

“CANCELLED" is self-published and distributed by Marlie Mul with the kind support of Südhausbau, PIN. Freunde der Pinakothek der Moderne e.V. Munich.

DISTRIBUTED BY MARLIE MUL. ALSO AVAILABLE FROM: MOTTO BOOKS, BERLIN / AFTER 8 BOOKS, PARIS / CROY NIELSEN GALLERY, VIENNA / ICA BOOKSTORE, LONDON / SAN SERRIFFE, AMSTERDAM / HOPSCOTCH READING ROOM, BERLIN, WIELS BOOKSTORE, BRUSSELS.

Click HERE for more information on the cancelled exhibition.

<< ground >>

2018

--- edited by Harry Burke and Marlie Mul, ground is a zine that sets out to look beyond institutions in their current form as dominant frameworks for artistic production, and embraces grassroots political and aesthetic perspectives. It was made and printed in 2017. --- featuring texts by Linda Stupart, Shellyne Rodriguez, Khairani Barokka, images by The Gate, Jean-Michel Wicker, Beatrice Glow ...and lots more

issue 1 / May 2018 --- + SOLD AT: AFTER 8 BOOKS, PARIS / ICA BOOKSTORE, LONDON / WORLD FOOD BOOKS, MELBOURNE / SAN SERRIFFE, AMSTERDAM / BANNER REPEATER, LONDON / BOOKARTBOOKSHOP, LONDON / DE DRUKKERIJ, MIDDELBURG / WIELS, BRUSSELS / PINA, VIENNA / FRAC LORRAINE, METZ / AYE-AYE BOOKS, GLASGOW / CENTRE D’EDITION CONTEMPORAINE, GENEVA / LIBRAIRIE ORAIBI + BECK BOOKS, GENEVA / PRO QM, BERLIN / HOPSCOTCH READING ROOM, BERLIN / MOTTO, BERLIN / ECKHAUS LATTA, LOS ANGELES / MOTHER CULTURE, LOS ANGELES / PRINTED MATTER, NEW YORK / TWO BRIDGES MUSIC ARTS, NEW YORK / AND FIND GROUND AT NEW YORK PUBLIC LIBRARY SEWARD PARK BRANCH --- :)

<< ground poster project >>

at 49 Nord 6 Est –FRAC Lorraine, Metz, France, 2018

Conceived and designed by Marlie Mul and Harry Burke on behalf of ground, a counter-institutional fanzine, November 2018. Contents for the poster came out of group conversations held with with students from the bachelor in fine arts programme at École supérieure d'art de Lorraine (ESAL - Metz), and it was made for the exhibition "Fabriques de contre-savoirs" at 49 Nord 6 Est –FRAC Lorraine, Metz, France, 11.09.2018–10.02.2019.

<< arbre de vie >>

2017

Marlie Mul and Jean-Michel Wicker "arbre de vie" – 5 metre long tree of life collage for Jean-Michel Wicker's book #picturebook1

Excerpt from the book:

the B-interviews : arbre de vie

First of all we set out to regularly meet up in Berlin during a specific period of time in 2016 for Marlie to in an informal way do interviews with Jean-Michel that were to become a part of this book. This would only happen in the afternoon and in pleasant and varied locations. The B-interviews – the B as a play on the B for Berlin, also as a reference to a series of interviews done by Calvin Tomkins with Marcel Duchamp in 1964, called ‘The Afternoon Interviews’.

Because both of us were always travelling throughout this period, these meet-ups were sporadic, and so each time we met time had passed by and there would always be new experiences, ideas and influences to discuss.

We realised our incapacity to affirm anything, instead preferring a sort of meandering through information. We decided then to opt for the form of an arbre de vie* as metaphor of this loose process. Like this we could appreciate all single topics and let them remain in their apparent disconnectedness.

*tree of life

Jean-Michel Wicker, #picturebook1, artist’s book, offset, 27 × 28.5 cm, 396 pages, publication of an arbre de vie produced by Jean-Michel Wicker in collaboration with Marlie Mul, a text by Harry Burke, and a recipe for Alsatian plum pie by Charlotte Wicker (French), English, an edition of 500.
Graphic design: Maximage Société Suisse, London.
Edition of the Centre d’édition contemporaine, Geneva. ISBN 978-2-9701174-0-7.
© 2017, the artist, the authors and Centre d'édition contemporaine, Geneva.

All photos of #picturebook1 by Sandra Pointet.

<< Hammer >>

2016

Commissioned by Kunsthalle Wien in context of the exhibition "No One and One Hundred Thousand", curated by Luca Lo Pinto at Kunsthalle Wien, Vienna 2016.

The curator’s request was to produce new works for an exhibition in which the viewer or visitor would effectively make the exhibition by moving the artworks around the space, creating new configurations as they went. I designed these hammers — tools that would normally help us make, fix, or build things — but in this case they were oversized and cast in silicone, making them awkward, impractical, and essentially immovable, complicating the very task they were supposed to support within the exhibition. The other artists in the exhibition were Darren Bader, Jason Dodge, Phanos Kyriacou, Adriana Lara, Jonathan Monk, Amalia Pica, Martin Soto Climent, and Lina Viste Grønli.Flexible silicone hammers, 120 cm, unique pieces, handle colour comes in either green or red. Pictured here in red.

Flexible silicone hammers, 120 cm, unique pieces, handle colour comes in either green or red. Pictured here in red.

Also exhibited as a part of Back Matter, MACRO Museum of Contemporary Art of Rome, 2021.

<< Lecture/Performance at Kunsthalle Wien >>

21 April, 2016, 7PM

Performance. Entropic autobiographical artist's talk. Kunsthalle Wien, Vienna, April 2016.

Part of the lecture series "Histories/Geschichten", curated by Luca Lo Pinto and Nikolaus Schaffhausen.

For this series of talks, I was asked to frame my practice within a broader and more subjective art-historical narrative through the works of other artists and various art historical influences. This approach didn’t directly resonate with me as it felt that my influences were coming much from my immediate surroundings and social circles (virtual and non-virtual) — the people I collaborate with, speak to, and am in exchange with, or snippets of texts from books, compulsively collected visuals from magazines, websites, etc - it didn't seem relevant to define a chronology within that.

To work from this starting point, and to integrate it into the talk, I decided to connect my laptop to the projector and allow the audience — as well as friends and collaborators joining from elsewhere — to interact with me directly through various programmes: WhatsApp messages, notifications, iMessages, email alerts, and even phone calls, echoing the way one’s daily rhythm is constantly interrupted by messages and calls. I had configured the notifications on my screen to continue indefinitely, so they began to accumulate across the desktop on the projected screen, gradually obscuring it beneath a dense field of alerts, contributing a the escalating sense of disorder.

What began as a relatively standard artist talk quickly became an unmanageable stream of interruptions, with me attempting to multitask my way through a chaotic flow of messages and calls coming at me from all sides. During the performance, the institution’s Wi-Fi — which I relied on for my presentation — failed and was abruptly replaced by a screen announcing that Prince had died, a moment that shifted the atmosphere in the room and pushed an already chaotic situation into yet another register of improvisation.

thank u to the participants: Michele di Menna (Whatsapp messages), Hamishi Farah (sms), Dim Mul (phone call), Parastu (live selfie-taking in the front row), Mårten Spångberg (sms), Philipp Timischl (Whatsapp messages), Zacharias Wackwitz (phone call), and Luca Lo Pinto (organiser).

<< mimi magazine >>

2016

mimi magazine is a zine made by:

☺ Anna-Sophie Berger
☺ Marlie Mul
☺ Anne Speier
☺ Philipp Timischl
☺ & Min Yoon

In this cooperative situation that took place at Yappy's Copy Shop in Vienna throughout April and May of 2016 there was no appointed author, nor a specific concept or framework set for the content of the zine.

Thank u to Xerox Austria, Repa Copy, and 21er Haus / Belvedere Museum, Vienna.

☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺

<< YAPPY'S COPY SHOP >>

2016

YAPPY'S COPY SHOP is a temporary copy shop. It was located in the Belvedere Museum/21er Haus Museum Artist Studio in Augarten Park in Vienna from March-May 2016 where I was an artist in residence for 3 months. During this time it was open to the public most days from 11am –11pm for regular photocopy services and was a space to work on print, collages and zines with various artists that were based in Vienna at this time.

Thank you to Xerox Austria for sponsoring this project with the borrowing of a copy machine.

<< Grater Dress >>

December 2014

for Silly Canvas / Centre For Style, 2014

"Silly Canvas"
Centre for Style exhibition at Utopian Slumps, Melbourne.

From the brief by Centre for Style: "Silly Canvas invites a selection of practitioners to create new work, restricted to the parameters of two 70cm x 170cm rectangles of material attached to one another. These works will operate as both flat dresses for a runway performance on the opening night and as static wall hangings for the duration of the exhibition.

The invited practitioners express various engagements with fabric and bodies within their practice and have been invited to challenge their processes through the constraints of the exhibition's premise. You are free to use whatever combinations of materials you desire as long as the work adheres to the prescribed dress measurements: two 70cm x 170cm dimensions of material with openings for head and limbs ."

I invited Life Gallery to organise an exhibition/a living room next to the exhibition "Arbeidsvitaminen" at Vilma Gold in London in February/March 2015. "Our House in the Middle of Your Street" was a living room with a carpeted floor, artworks by Vittorio Brodmann, Manuela Gernedel, Ann Hirsch, Anne Imhof and ​Holly White, 2 sofa's and a Playstation. Weekly events were hosted by Emily Jones, Holly White, and Oscar Khan.

Press text by Harry Burke:

“In Summer 2013 I met Oscar one evening. He wanted to cut his hair. I said he could come round and borrow my clippers. He came round to borrow my clippers but for some reason I wasn’t there. Maybe one of us didn’t have a phone. My housemates were there playing video games in the living room. Oscar had a bottle of wine with him. When my housemates left the next month Oscar moved in.

Later on we started a gallery in our living room. We no longer live at that house. Our House in the Middle of Your Street groups paintings, drawings and sculpture by five artists, based in London, Germany, Switzerland and the USA: Vittorio Brodmann, Manuela Gernedel, Ann Hirsch, Anne Imhof, and Holly White. The majority of the artworks are relegated to the walls as the centre of the gallery becomes a social space.”

Events Programme:

Sunday 22nd February – "Just grab my hand and don’t ever drop it". Taylor Swift Deep Listening Party, hosted by Emily Jones and Holly White.

Saturday 7th March – Craft/Embroidery Workshop, hosted by Holly White.

Saturday 14th March – "PoeTRY, an event of poem", hosted by Oscar Khan.

<< Popping Pollock (Manual) >>

2014

Commission for the magazine Texte zur Kunst, issue nr 95, September 2014 on the subject "Art vs Image".

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<< Soap Dish (Bélo Hair) >>

2014

Soap dish with soap and hair in shape of the Airbnb 'Bélo' identity emblem, which was developed and launched in 2014 by a branding company over the period of one year of research.

This piece was shown at Eric Schmid's apartment in New York, at Castillo Corrales in Paris and by the collective ÅYR in London, all in 2014.

<< Barcelona: SOLD >>

2013

Experiments with driving taxis and blurry paintings – throughout Barcelona, December 2013.

Background is blurry becoming generic 'cityscape', taxi is in focus, painting was painted to seem blurry/out of focus/in movement.

Sold, gone.

<< Balcuzzi >>

2012

Balcony exhibition with Valentina Liernur, Buenos Aires, 2012.

Exhibition includes paintings by Valentina Liernur, digital prints on silk by Marlie Mul, flower bouquets, candles.

There was no direct access to balcony,
viewing of works from street level only.

<< Kiss-You-Through-The-Phone >>

2010

" LONG DREAM
FOUND MISSING KEPT
FOREVER TRUE (HUG OVER A DISTANCE) "

Poster 70cm x 160cm first made for the exhibition:
" KISS - YOU - THROUGH - THE - PHONE "
at Paloma Presents in Zürich, Switzerland, February 2010.

Exhibition press release by Marlie Mul:

"It can be stated that culture is a means of converting the impact of such energies as love, sex or aggression. So maybe it is these specific energies that both introduce the incentive to make art, and authorise critique towards a method of artistic production by the level of their presence in the artistic work. However, a direct articulation of these energies as topic remains too awkwardly intimate and thus usually ends up approximating superficiality. The exhibition Kiss-You-Through-The-Phone finds itself on the verge of such banalities. With its emphasis on the Long Distance Relationship as a phenomenon, this exhibition underlines the laborious maintenance of love that takes place regardless of distance in both space and time, supported by as many media, tools and channels as possible. The Long Distance Relationship is carried by devotion and nostalgia, becoming a project that seeks to sustain a continuous narrative while accepting fragmentation."

All images from the show "Kiss-You-Through-The-Phone" at Paloma Presents.
Including the works:
✗ "Kiss-You-Through-The-Phone 2010 Calendar" by Marlie Mul, Ilja Karilampi and Yngve Holen. 29,7cm x 42cm, available from Lulu print on demand.
✗ "Kiss-You-Through-The-Phone Mugs" by Marlie Mul, Ilja Karilampi and Yngve Holen. Edition of 30. 2010.
✗ "For Love" by Marlie Mul, hand-marbled wood parts. 80 cm x 6 cm.
✗ "Long Dream Found Missing Kept Forever True (Hug over a Distance)" poster by Marlie Mul, 2010.
✗ "White Magic Nemo Web" by Ilja Karilampi, 2009.
✗ "2010 Top-10 Things to Take to Bed" by Yngve Holen, 2009.


Kiss-You-Through-The-Phone Calendar 2010 has also been made available as free-downloadable PDF-Publication from www.xym.no between 14-02-2010 and 14-07-2010. ISBN 978-82-8203-008-3.

"Long Dream Found Missing Kept Forever True (Hug over a Distance)" poster, presented as a part of Benedictions, curated by Jamie Stevens and Patricia Lennox-Boyd, featuring work by Tobias Madison, Marlie Mul, WE (Pil & Galia Kollectiv, Victor M. Jakeman, Ruth Angel Edwards), and a reading by Paul Buck. At Limoncello, London, April 2011.

<< Death of Samantha / Season of Glass >>

2008

Group exhibition Death of Samantha / Season of Glass at New Jerseyy, Basel Oct-Nov 2008.

Exhibition includes modular sculpture made from styrofoam and resin by Marlie Mul.
Other works in the exhibition by Tony Duquette, Isa Genzken, Wade Guyton, Balthazar Lovay, Walter Pfeiffer and Heimo Zobernig.