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We also use these cookies to understand how customers use our services (for example, by measuring site visits) so we can make improvements. And last but not least, they are works that enter the world with a unique presence and an unusual resistance.We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences, and to provide our services, as detailed in our Cookie Notice. They are discreetly controlled stagings of showing and concealing, of history and anonymity. They are batteries that have absorbed real-life and artistic energies to capacity and now only release them in small amounts. They are sad machines confronting the largely doomed task of saving the more recent present from oblivion. Mucha’s sculptures are much more than sculptures they are melancholic apparatuses that archive history. Hardly any other sculptor has so consistently used the zero-point of sculpture after Minimalism as a conceptual stepping stone. Sensitive and sophisticated, it more closely resembles Minimalism and Conceptual Art and artists such as Blinky Palermo, Donald Judd, Frank Stella and Bruce Nauman.

Mucha’s work has nothing in common with Beuys’s artfully shabby works, nor does it seek to conjure anything. Mucha is often placed in close aesthetic proximity to Joseph Beuys, not least on account of his explicit, often antagonistic references in the naming of his works or his use of felt and found objects from German post-war everyday life.

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