His pictures, often taken in his time off while working on films, many directed by Wim Wenders and Jim Jarmusch between the early 1970s and the late 1990s, were, at first, not intended to be displayed. These intimate, personal snapshots, captured in moments of solitude, contextualize the world through his eyes. As a cinematographer, Müller chose to work with film directors who had something to say about life; his Polaroids bear witness to his humble and poetic outlook on life.
The original Polaroids and prints on display show an amalgamation of cinematic still lifes, landscapes, cityscapes as well as interior views, mainly shot in different cities in the United States. From neon signage on a motel in Santa Fe, street lamps in Los Angeles, the play of shadows on a wall in Memphis to the illuminated Eiffel Tower in Paris, these eclectic images interpret varying degrees of luminosity. In an essay written about his Polaroids, Bianca Stigter notes: “Robby Müller is often compared to Vermeer, because they are both Dutch and because they both handle light in a reverent way. They do not use light to convey a scene; they use a scene to convey the light. Light is not what makes things visible; things are what makes light visible. The Polaroids, especially as seen in series, are preoccupied with light, how it shines through a curtain or a shirt, how daylight gives over to artificial light, how light can have color and give color, how different light sources compete and fade.”
While working on long-feature films, Müller spent months on the road, sleeping in hotel rooms where he observed reflections on mirrors, windows or TV screens, noticing the particularities of light cast from a table lamp, and discerning the sun’s rays descending on a coffee maker or piercing through shutters. As Bianca Stigter tells it: “It is possible to see a picture of a hotel room and not think of hotel rooms, especially if that picture is taken by Robby Müller, cinematographer extraordinaire, who manages to do away with the useful categories children spend a lifetime learning only later to find solace when they do not apply, to see walls and faces just as things for the light to play upon. Sartre’s protagonist in Nausea felt disgust confronted by familiar things he suddenly could not name, but in the works of Robby Müller it becomes a liberation. There is freedom in this ignorance, like a precious gift; in a world where everything is weighed down by meaning the sudden absence is strange and exhilarating.”
Robby Müller (Curaçao, 1940 – Amsterdam, 2018) was a cinematographer and a photographer. Throughout his fifty-year long artistic career as a cinematographer, Müller collaborated with the most talented and renowned film directors such as Wim Wenders, Jim Jarmusch, Barbet Schroeder, Andrzej Wajda, Lars von Trier and Raoul Ruiz. The more than 60 feature films he worked on include: (1977) and (1984) by Wim Wenders; (1986), (1989) and (1999) by Jim Jarmusch; (1996) and (2000) by Lars von Trier.
In 2002 he also filmed (2002) in collaboration with his long-time friend Steve McQueen on the Caribbean island of Grenada; Müller’s luminous footage subsequently also became a central part of McQueen’s (2002-2015).
Robby Müller’s extensive archive of Polaroid photographs have been shown in several exhibitions since 2016: in the retrospective , at the EYE Filmmuseum, Amsterdam (2016) and at the Deutsche Kinemathek in Berlin (2017); , curated by Andrea Müller-Schirmer, in Arles (2019), at the International Film Festival of Rotterdam (2020). In remembrance of Robby Müller, the Netherlands Society of Cinematographers, the International Film Festival Rotterdam, and Andrea Müller-Schirmer established the annual Robby Müller Award in 2020. The exhibition has been organized in collaboration with Andrea Müller-Schirmer, founder of the Robby Müller Archive, and Annet Gelink Gallery.

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The hardcore truth beyond &quot;The Hunchback of Notre Dame&quot;: 
The shocking aesthetics of the scaffolding church: the giant tower crane on the south side pierces the sky like a mechanical cross, and the unfinished flying buttresses expose the steel nerves. Through the gaps in the construction fence, you can see the new spire cast from **600 tons of recycled lead blocks after the disaster - this is the Gothic soul resurrected by humans with technology in the 21st century. 
The miraculous code of the survivors: 
Bronze rooster weather vane (fallen to the ground in the fire and then recovered): It contains fragments of Paris, the crown of thorns and the remains of Saint Denis. The French regard it as the immortal totem of the ** country; 
South Rose Window (16th century): The colored glass tempered by high temperature in the flames is more colorful. When the midday sun penetrates, the rose projection like a blood diamond will appear on the ground; 
North transept stone column: The charred column is deliberately preserved and juxtaposed with the snow-white restoration stone - ** destruction and rebirth are in fierce dialogue here. 
Time capsule in the underground palace: The underground archaeological tomb (Crypte Arch&eacute;ologique) contains the ruins of the ancient Roman baths of the &Icirc;le de la Cit&eacute;. The stone swimming pool in the 4th century AD is intertwined with the foundation of the medieval Notre Dame. The two thousand years of accumulation of Paris are cut here. 
Ghost echoes on the riverside squatting on the Pont Neuf of the Seine until late at night. When the construction lights go out, the outline of the building floats in the moonlight. At this time, if you put your ear to the wall, you can hear the whimper of the wind blowing through the hollow holes of the scaffolding - that is the phantom sound of Quasimodo ringing the bell. 
Post-disaster pilgrimage survival guide: 
Touch rebirth up close: 
- Book a &quot;Chantier Tour&quot; (&euro;19) and enter the construction site wearing a helmet to watch robots carve new beams; 
- Go to the &quot;Atelier de la Reconstruction&quot; next door to assemble an oak dome model by hand and touch the charred original beam samples. 
Magic moment sniping: 
- Squat at the Pont Petit one hour before sunset, where the construction cranes and the remaining twin towers form a surreal picture in the reflection of the Seine; 
- Look up at the North Tower at the top of the hour, and when the temporary bells (newly cast in 2023) ring, the pigeons in the sky will be startled and fly back like ashes. 
Soul meal replacement plan: 
- Sainte-Chapelle (Sai

Time:	Mar 7–Apr 27, 2024 (UTC+1) ENDED
Location:	79 & 66 Rue Du Temple, 75003

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