Like a network of roots, Wilhelm Moser's work has branched out in various directions since the early 1980s. His work as a visual artist, publicist, photographer, and filmmaker can hardly be surpassed in terms of versatility. And yet, all his diverse individual forms of expression form a consistent cosmos, a vital rhizome whose branches seem to interconnect incessantly. 

After his training as a carpenter and studies at the Folkwang School in Essen and the Gerrit Rietveld Academy in Amsterdam, he commuted between Düsseldorf and Paris. In the intersection of art, photography, and fashion, he has made a mark, together with David Colby, primarily as unconventional publicists and editors of now legendary magazines - Select Magazine (1982 - 2003); The Manipulator (1984 - present). 

Crucial to his own artistic practice was an encounter with Andy Warhol in Paris in 1984, who encouraged Moser to introduce his own work to New York galleries. From then on, Moser's international exhibition career took off.

Our exhibition features selections from Moser's photographic, drawing, and sculptural works from the past five years. Foreign and remote places become a source of images and ideas and are the focus of the works shown here for the first time in Berlin. 

On his journeys around the earth and into the unconscious, Moser encounters strange impressions, not least the apparent coincidence and superimposition of different times. At such real as well as remembered and imagined places from the past, present or future, he collects pictorial motifs, visual moods, history and stories. Mostly in the form of photographs, with reworked surfaces, large-format drawings or sculptural in the form of ceramics, worked Tuffeau stone or bronze.

Equal to his pictorial work, Moser's sculptural expressions are characterized by the idea of merging imaginations, experiences of the world, and figurations of time. The mostly small-format clay figures seem to be "souvenirs" of dream memories, influenced by the culture, history, and aesthetics of various countries, perhaps partly even of extraterrestrial origin.

The rhizomatic structure that characterizes all the works gathered here resembles a non-hierarchical network that reflects the interconnectedness of the artist's thinking, perceiving, and living in all its ramifications-an organic order full of cross-connections and crossovers that transcends any temporal settlements.

Welcome to the TIMEMUSEUM!

– Charlotte Desaga