{"id":5686,"date":"2020-11-23T20:50:58","date_gmt":"2020-11-23T19:50:58","guid":{"rendered":"http:\/\/fondazioneartecrt.it\/artista\/reinhard-mucha-3\/"},"modified":"2021-09-09T15:38:48","modified_gmt":"2021-09-09T13:38:48","slug":"reinhard-mucha","status":"publish","type":"artista","link":"https:\/\/fondazioneartecrt.it\/en\/artist\/reinhard-mucha\/","title":{"rendered":"Reinhard Mucha"},"content":{"rendered":"

The sense of profound solitude, together with the sense of loss, are some of the themes that Reinhard Mucha investigates in Mutterseelenaillein (All Alone), 1979 [1989] [1991] [2009]. In the work, sixteen sculptures in aluminum, enamel paint on the reverse of glass, felt, and wood, reminiscent of wall mounted display cases are illuminated by seven fluorescent lamps positioned between the cases. Fifteen cases carry fifteen black and white photographs of empty used chairs. The work’s subtitle, Die Wärterund Besucherstühle der “Großen Düsseldorfer Kunstausstellung” aufgenommen im Kunstpalast Ehrenhof Düsseldorf am 30 Dezember 1979 (The Seats for Attendants andvisitors at the “Großen Düsseldorfer Kunstausstellung” Shot at the Kunstpalast Ehrenhof in Düsseldorf on December 30, 1979), refers to the subject matter of the photographs, an empty chair in the exhibition context. 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