Reinhard Mucha

Lia Rumma | Naples

I have often seen Reinhard Mucha’s work as a built place to which one sometimes returns, over intervals of time. Just as one goes back to the same city, each time finding one’s experience of the place changed because of alterations that have taken place there, different itineraries chosen, or imponderable factors that have come into play—so, too, I have ventured through the streets of the “places” Mucha has created. For this reason, each time I document my reactions to the work, it is more a question of where I have been than what I have seen.

The same is true now, two years after Mucha’s glorious double exhibition in Bern and Basel. Here, the myth and energy of Naples contributed to the definition of the work. The exhibition began with the very same title, Mutierseelenallein (Mother-souls-alone, 1989). High up, in a frame, was the photograph of the facade of an exhibition hall. Below the

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