Grégoire Müller was born in Morges, Switzerland, in February 1947. After graduation (Collège de St Maurice) he moves to Paris in 1965, where he soon works as an assistant for César and then Arman. Following intense conversations with Daniel Buren he suspends his painting activities to start writing about Art. Editor of the Art pages at Pariscope, author of the French preface for Herald Szeeman’s “When Attitudes become Form”, he leaves Europe for New York after having taken part in the May 68 events.

Assistant of Richard Serra (with Phil Glass), he moves on to join the staff of Artsmagazine, before taking over the Editorship. An active member of the New York art scene, he collaborates as an Editor with artists as various as Warhol, Dali, Rauschenberg, De Maria, Sol Lewitt… for special projects at the magazine. In 1972, after the publication of “The New Avant Garde” (Praeger, N.Y.), he interrupts all writing activities to resume painting.

Since 1975 he has shown on a regular basis both in one-man exhibitions in New York (Deitcher-O’Reilley, Kornblee, Oil and Steel, Gruenebaum, Jason Mc.Coy…) and London (David Grob), and in group shows with, among others, Julian Schnabel, Leon Golub, Eric Fischl, Jean-Michel Basquiat.

Back in Switzerland, he settles in La Chaux-de-Fonds in 1987, where he has lived since with his wife Pascal and their daughters Saskia and Misha. He had a number of solo shows in museums (Kunsthaus Zurich, M.A.H.N. in Neuchatel, M.B.A in La Chaux-de-Fonds…) and in galleries (Carzaniga in Basel, Ziegler in Zurich, E.S.F. in Lausanne, Fischlin in Geneva, Numaga in Auvernier…) as well as group shows with, among others, Armleder, Honegger, Mosset, Varini.

Aside from painting, Grégoire Müller also devoted his energies to Sculpture (cf. Potences d’Anges, Edition G.d’Encre) and to writing (Ramblings, Nada Mas, both at the Editions de l’Aire), Teaching part-time at the HEAA in Le Locle and at the Lycée Blaise-Cendrars in La Chaux-de-Fonds adds one more dimension to his involvement with Art.

Grégoire Müller’s work is represented in a number of private and public collections, including the MOMA in New York, the Zurich Kunsthaus, the Chase Manhattan bank, the Nationale Suisse Assurance and the Swiss Confederation. His shows were the subject of articles in the New York Times, Art in America, the New Yorker, The Neue Züricher Zeittung, l’Hebdo, Le Temps and other publications. He is also prominently featured in the Dictionaire de l’Art Suisse,