In Galerie 2, Lutz-Rainer Horst Müller and his Maximal Speed is a State of Rest represents his second project developed for the gallery. Lutz-Rainer Müller has again set up an elaborate project. True to his own tradition, the exhibition space operates as a stage, a site for action and contemplation rather then a display site for already finished and closed thoughts. In this way, Müller references what Brian O’Doherty describes in his book Studio and Cube (2007) that the cube (the exhibition space) is a "frame or window between the inside, the artist’s private sphere, and the outside, the public". Müller`s exhibition plays out in four acts, overlapping and reflecting a great interest for the superfluous, the irrational or Dadaistic if one likes. They are all about bringing something back, either in reality or metaphorically – and they are all based on different historical and literary figures. The first act is Murphy, based on Samuel Beckett`s 1938 novel of the same name. Murphy finds his moment of zen being tied up, naked, in his rocking-chair, appeasing his body. The protoganist operates as a lone figure, resisting the presence of a world outside of his own. This fascination with "doing nothing" as a state of production has spawned several ideas and project proposals for the show, most of which will never see the light of day. The second act, Sarah`s smile is based on the myths around the "Divine Sarah Bernhardt". Feted to be the best actress in the history of the world in her heyday (in the early 20th century) for theatre, Bernhardt played almost exclusively male parts. And so it was impossibile to ever capture her performance or, even, to see her smile. This reflects the inherent impossibility within all of Müller’s works. Another idea that will be delt with in Müllers works is the notion of our world lacking both a single truth transcending its respective contexts as well as one might be inferred. Any statements, expectations and meanings are therefore provisional. A flying hat refers to Hans Richters Ghost before breakfast (vormittagsspuk), 1929. The oversized hat (made in copper) will hover within the space, fall down (in slow motion) any give time and might even end up in a nearby lake. The fourth (and possibly the last) act of Müller`s project, is that of a retrieval. Müller is currently in Amsterdam where he has located the canal that Bas Jan Ader cycled into in his piece FALL II, 1970. Müller is there to fish up as many bikes as possible to transport back to Leipzig for the show. This action operates as a false archaeology, a symbolic action that wants to pay its respect to the past as well as the future. It also resonates with his long term project with Jan Freuchen (Objet Perdu), last shown in Pierogi last year. This is possibly the first exhibition by Müller that shows the multiple layers of his interests and telling various stories at once in an attempt to generate narratives. He dwells on the impossible as in his search for Bas Jan Ader’s bike in the canal and in contemplating the smile of Sarah Bernhardt. Also his profound interest in escapism and solipsism are expressed very clearly here. The show will not only have newer works but parts of elder works will be shown. There will be a signed and numbered limited edition catalogue available. Lutz-Rainer Müller (*1977) studied at the Muthesius Kunsthochschule, Kiel, and at the Academy of Fine Arts, Bergen and Oslo. Recent projects involve solo exhibitions at Fotogalleriet, Oslo and at the National Museum of Art, Architecture and Design, Oslo. Forthcoming projects include a three part solo exhibition in collaboration with Stian Ådlandsvik in Hamburg this fall. The artist lives in Leipzig.