Maximilian Moll extracts from the mass media the remnants of our visual culture, which is only thriving on the outside make-believe of pictures, and he combines the fragments in collages of kaleidoscopic compositions of our collective memory of images. By bringing together elements which are contradictory or don’t belong together, he examines the impact of the images – looking behind their semantic qualities, tackling their iconic and symbolic substance. Aside from an evident reality, cliches are constantly created from all images which reconfirm themselves as true by repetition and adapted re-use. Appearing to be something they are not: reality.

Maximilian Moll does not succomb to images which surround us. His iconoclastic approach becomes apparent in the deconstruction of stereotypical images from the bank of existing imagery. It is oftentimes the strong ones, produced by others in order to be sold back to us via the media. For the artist „these cliches get a life of their own as dead metaphors“. The essential impulse of his work is a mistrust of these images and the questionable truth that images are honest by the act of perceiving them.

Thomas Belschner, historian of the visual arts


Maybe there are some splinters of truth left in the brutal deconstruction of false realities.

Boris von Brauchitsch


December 1, 2009 – February 26, 2010

Japan Foundation Cologne

„In the processing of sensory stimuli the human mind is supported by functionalities of objects, places or symbols that are inextricably linked with them, an enormous amount of underlying influences. Oftentimes our senses bridge these gaps with information that is not really there and helps us in perceiving a consistent world. “

Angela Ziegenbein, curator                                          



‚Wer will nochmal, wer hat noch nicht..?‘  M. Moll

rotating video installation in the staircase

‚循環 / Circulation / Kreislauf‘    Y. Niwa


‚Steter Tropfen / Constant Drip‘  M. Moll

sculpture from torn photographs

June 5, 2010

HBC. Berlin

Automatic Theatre Collective

Soul Jar

Documentation of the performance created by Maximilian Moll, danced by Michele Gatta at on June 5th 2010 as part of the automatic theatre collective.

A dancer has to deal with his shadow acting up..

Group show

12.6.-31.7.99 Galerie Max Hetzler, Berlin

Essence of direction | Essence of passing | Essence of mass (each 8" x 12") , editions of 3

Illumination higher | Illumination later | Illumination further (each 8" x 12") , editions of 3

objects in the rear view mirror..

Opening February 27, 2009, 8pm

Tape Modern

Heidestr. 14

10557 Berlin

part of  ‚Outside‘ - curated by Avi Feldman and Amir Fattal

A turn on twisting realities and confusing inside and outside

Videoprojection on a projection frame ( 210x160cm frame with back-projection foil) freely hanging in a dark area, so that people can walk around it and view it from both sides.

The projection shows the illusion of the outdoors in a typical motif of photo wallpapers like perfect beaches or idyllic mountain views. This view is torn open to reveal its paper quality and beneath we see a shot of grim gray city streets of the metropolitan areas of berlin, nyc, sao paulo, shanghai, london, paris, tokyo. Here the images have been manipulated so that the few people visible are all wearing the same irritating masks. This underlying ‚reality’ becomes again torn apart to show it was just an image and again we see an idyllic retreat. This alternation is repeated slowly to the length of a loop which is intended to be seen from both sides.


2003, 3'30''

The RAF-kidnapping of Hanns-Martin Schleyer received immense media coverage and inspired teenagers at the age of the filmmaker then to re-enact it on original location in Cologne.

2002, 2'38", Color, Stereo, English / Spanish

Newspaper quotes

Cheryl Ried, Oscar Strasnoy

‚una brujula‘ by Jorge Luis Borges

History, politics everyday, means making decisions about which way to go and to deal with irritations and consequences.

Akademie Schloss Solitude July 2002

Installation of 250 photographs and 1 monitor.

contrast of a video about a dysfuntional couple and wedding photography

Solo show at Akademie Schloss Solitude, Stuttgart,

Oct 28 - Nov 28      2002

Artist-in- Residence



3 Min, 16mm, 1:1,37, color + B/W

premiere at the International Berlin Film Festival 1993 Starring Thomas Grube

Prädikat wertvoll

The desires and imagination of a prisoner. It's the only place he can breathe and look out into the distance. The only place he can dare to jump from Berlin's Victory Column, dive through the Brandenburg Gate and find freedom on "Unter den Linden". However, this freedom comes to a sudden halt.

Heile Welt   (Safe Harbour- Sound World)

9 Min, Stuttgart, Nov 1-10 2002

Interactive Multi-Projection-Installation to be viewed from the inside of a car combined with live surveillance camera on the audience.

A journey from the perspective of a toy car pacing through the living spaces of a Mies van der Rohe and a Hans Scharoun house in Stuttgart/ Germany built in 1927 in contrast to the hide-out of heroin-junkies in an abandoned house in Leipzig and the living room of a house in Grimma destroyed by the big flood in 2002.

multi-projection-installations at four historic sites of Berlin
february 2004


commissioned by Hauptstadtkulturfonds.

Between 05.02.04 - 28.03.04

Credits: Andreas Dahrendorf, Production; Arne Krasting - Historical Consulting; Carsten Zehran, Mario Methner, Michael Dudek,  Assistant Editors

Sarah Becker, Jochen Schropp - Actors

december 2004
bergen/ norway


the site-specific theme of joy and danger of water reflects in the galleries windows back to the sea. The indifferent combination of selected footage from archives and newly produced live-action footage is randomly generated by VJ-software which is set to the sounds of the water picked up at the site.

Due to the iconic quality of the images, they seem to be metaphorical and intentionally combined.


Skriduklaustur, Museum and Residency

2003, Iceland

the attempt to integrate and communicate with a flock of sheep

4 Min, 35mm, 1:1,85, color + B/W                world premiere at the International Berlin Film Festival 1998                                              starring Hendrik Martz

Prädikat wertvoll

A smuggler arrives at the border. He manages to maintain his composure, thus clearing the way for his entry into another world.

67 bullets

x-roads of history

1x täglich


„burst – vor glück platzen (2002) stirs up recollections like photographs in a shoe box, cuts them up, dissects them and states the loss of the authentic..“

Boris von Brauchitsch                                                                                                           For more, click here


Schaf im Wolfspelz

„.. it is exactly these images of images which are of interest to Maximilian Moll. Images which are already there, images from our general knowledge memory bank and archives. He fragments these images and juxtaposes them..“

                                                                                                                                           For more, click here


„.. Many of his projections use windows as screens. These act as frames to the world, the view out to the public, the border between private room, private history and world history..“                                                                 


„.. like in a cage the viewer is exposed to the events happening. These are once again about a car, this time a toy car moved by an unknown force..“

Boris von Brauchitsch                                                                                                             For more, click here

Heile Welt

„..Maximilian Moll’s works are iconoclastic, storms of images and a destroyer of images. He works with motifs from the private sphere of remembering which developes similarly to our collective memory..“

                                                                                                                                         For more, click here


„.. Luck, patience and dexterity are being mixed with private embarrassments and anecdotes, proof of own failure to be transferred to a new state of matter. Now we can look at them differently, from a meta perspective, a new context, fragmented and shock-frosted..“

Boris von Brauchitsch                                                                                                       For more, click here

Past Particles

„.. The consistence of water is like that of chemicals in a developing tray, originally saving the image on the paper, sealing it, but here adapted to the natural material of water which again is iconoclastic, because ice is melting. Here it is a metaphor of the transience of the image in its material...“

                                                                                                                                       For more, click here


March 5th- April 25th, 2011

Charlottenborg Kunsthal

Nyhavn 2





Shot on location of Eisenstein‘s famous scene of Battleship Potemkin‘ (1928) set with contemporary conflict.

Defenseless BMX-Bikers are being literally ‚shot’ by tourists on the Potemkin Steps in Odessa. Now, youth culture is confronted with the mechanics of tourism where 1929 Eisenstein staged the shooting of citizens by the cossacks.

May 13 -24, 2009

Festival de Cannes


world premier

Opening March 3rd, 2011, 20-23h

documentation of the exhibition including video installation ‚Things Happening‘ (a mock thievery), ‚Wer will nochmal, wer hat noch nicht..?‘ citing the fun fair enticement of a transcendent merry-go-round and ‚constant drip‘, Moll‘s sculptural premiere.

December 6, 2008 – January 4, 2009

Neues Museum Weserburg, Bremen

16. Video Art Award Bremen

„Is the installation a comment on the financial crisis, which due to greed and megalomania has a global effect, or is it a remark on the terror of consumption, on transience, even a religious warning to refrain from earthly temptations?“

Dr. Boris von Brauchitsch                                                          

„.. reverberating much stronger are the mythical, religious and archaic images, deeply rooted in our cultural heritage. Oscillating between purgatory, burning at the stake and apocalypse. They open up an endless realm of experiences..“

Ingo Clauß, curator Neue Weserburg, exhibition note                                                                                                For more, click here

keep the fire burning

March 7, 2010 – April 18, 2010

Kunstverein Ruhr, Essen

16. Video Art Award Bremen

extended till April 25, 2010

Opening October 29, 2011



50 Moganshan Lu, Building 6, 5th Floor

Shanghai 200060, China, 中国上海莫干山路50号 6号楼5层