Chris Müller creates, develops, manages and tells unconventional and successful complex projects. He always works closely with a circle of experts. He overcomes the limits of conventional enterprises, industries, and genres. Through his diverse roles, Chris Müller has a broad network of contacts to top executives in both the public service and politics, as well as in the private sector, culture and creative industries. Accordingly, Chris Müller sphere of activity is multifaceted. This is proven by excellent projects ranging from urban development and real estate to theater productions and socio-political campaigns or spatial strategies. In order to provide his projects with the desired reception, Chris Müller does not only include interdisciplinary art forms and scientific or political discourses; He also develops tailor-made multimedia moves and a wide variety of event formats.
Chris Müller is the scion of a miners’ dynasty from the former Austrian coalfield Hausruck. His work impresses with a detailed, almost archaeological approach to the respective task. The examinations are always extensive and long-term. Backgrounds are explored, relationships are sought, local conditions are considered in the context of historical and current events as well as global states. Thus, Chris Müller holds raw materials that are essential for the steady renewal of society. Treasures that are traded as insights, utopias or innovations.
Carpenters and Staircasters, Artists and House Rockers, Production Managers and Caterers, Machine Operators in the Food and Steel Industry, Asbestos Disposer and Fire Fighters, Stage Manager and Bandleader, Theater Director and Factory Director – Chris Müller has developed seismographic expertise through his unusual biography. With his special attitude to life, he has learned to think entrepreneurially, to act independently at the place of action, to take responsibility and to generate innovations.
As director of development, design and artistic agendas of the Tabakfabrik Linz, since 2012 he directs the fortunes of the flagship Brownfield Re-Developments project in the Upper Austrian state capital. Today, the tobacco factory ignites ideas instead of cigarettes. The “Neue Sachlichkeit” industrial jewel acquired by the City of Linz after the company ceased operations in 2009 is gradually becoming a focal point for creative industries and an internationally sought-after location for large-scale exhibitions, congresses, festivals or corporate events. Already, 717 people from 106 organizations and thus many more people work in the tobacco factory than before their closure. The last significant industrial building by the renowned architect Peter Behrens, inventor of the corporate design, is a synthesis of the arts with around 80,000 m² of covered usable space and is one of the most important industrial monuments in Europe.
As CEO and Founder of a Laboratory at the interface of Society, Technology and Urban Development, together with Maria Marlene Dietrich (COO CMb.industries), he addresses the urgent issues and context of Brownfield Re-Developments and Beta Industries for a prosperous society.
Chris Müller also launched the ATMOS project in February 2017. Together with the avantgarde architecture firm Coop Himmelb(l)au, he is pushing for the construction of a biomechanical selfness resort that on the one hand should be a place of creativity, on the other hand a recreational area for cystic fibrosis patients and their families. The previously incurable genetic defect, which causes organs to gum up and allows a life expectancy of about 40 years, was diagnosed at birth with his daughter.
Behind the Theater Hausruck stands an open circle of committed people who have dedicated themselves to a political theater as an examination of central social issues and their regional characteristics. Chris Müller directs it as director, following the conviction that theater must be up-to-date and flexible and can not be fixed on given themes, forms, venues or traditions.
Since its first production in 2005, the Theater Hausruck has provided a detailed, almost archaeological approach to the material that is told in each production. The preliminary research is always extensive and long-term, backgrounds are researched, relationships are sought, local conditions are considered against the backdrop of historical events and global conditions. For example, the Theater Hausruck digs up stories that always move along the narrow ridge between reality and fiction.
The projects of the Theater Hausruck transcend the boundaries of conventional theater. They include art forms such as film, performance, literature as well as scientific and political discourse, and use multimedia play-offs, in particular social media, to facilitate an event-free reception.
The foundation of the Theater Hausruck has always been the interaction of many people, who are connected in some way with the house pressure. The people of the region are part of the history as contemporary witnesses, are part of the large team of performers from laymen and theater professionals or support the theater productions in the numerous organizational works. The documentation of the projects also plays an important role. All productions including their preparatory work are extensively and professionally recorded in videos, pictures, sound and writing.
2009 Interkulturpreis (Theater Hausruck / A Hetz oder Die letzten Tage der Menschlichkeit)
2006 Vöckla Kultur Award (Theater Hausruck / Hunt oder Der totale Februar)
2005 Nestroy-Theaterpreis (Spezialpreis für die Produktion von Hunt oder Der totale Februar)
2005 Bühnenkunstpreis des Landes Oberösterreich (Theater Hausruck / Hunt oder Der totale Februar)