Ulrike Müller’s practice addresses contemporary feminist and genderqueer concerns, extending from the feminist movements of the 1970s onward. Disrupting traditional gender norms, her works are largely influenced by geometric abstraction and examine how color and shape can express ideas of representation, identity and body. Her work is situated outside the usual scope of abstract and geometric painting, creating links between form, social context and identity.
As with her larger practice, in her works for June, Müller engages relationships between bodies and signification and a concept of painting that is not restricted to canvas and brush. A series of works moves between different contexts and publics, inviting collaboration, and expanding its realms of production in processes of exploration and exchange. Müller pushes her formal vocabulary through material and affective states making use of a variety of materials and techniques. Alongside small-scale paintings in baked enamel, she also produces textiles handwoven from sheep wool.
Founded by Christian Meyer and Renate Kainer in 1998, Meyer Kainer had its start as Galerie Metropole in Vienna (1976-1998) and New York, where it was active from 1980-1990. The current incarnation of the gallery in Vienna is a space for interaction and negotiation. Through its exhibitions, projects in museums and biennials and special publications it reflects socially relevant potentials and discourse about the value and significance of art.