Michalis Pichler

Un Coup de Dés (MUSIQUE)
(talk)

October 2nd 2009 at P.S.1 Contemporary Art Center

On Friday October 2nd 2009 at 2pm Un Coup de Dés Jamais N'Abolira Le Hasard (Sculpture) will be launched at PS1 in the context of the New York Art Book Fair with music.

The music is created by playing the book on an automatic piano.


New York Art Book Fair
2-4 October (Fri & Sat 11-7pm, Sun 11-5pm)
Preview: 1 October 6-8pm
P.S.1 Contemporary Art Center
22-25 Jackson Ave at the intersection of 46th Ave
Long Island City, NY 11101

TWENTYSIX GASOLINE STATIONS
(book)

Michalis Pichler
36 pages, 18 x 14 cm, 2009
Printed Matter, Inc., New York, ISBN 978-0-89439-044-4
and "greatest hits" Berlin, ISBN 978-3-86874-004-2



The same building photographed all over different locations in Brandenburg, Thuringen, Sachsen-Anhalt and Mecklenburg-Vorpommern.

"The eccentric stations were the first ones I threw out" is written on a photographed piece of paper, at the end of the book. Ed Ruscha had published a book under the same title and outer appearance in 1963.
www.buypichler.com/books.html

EL AHIJADO
(group show)

Agosto 7-Septiembre 8, 2009
Alterna y Corriente, Mexico City

AMERIGO BONASERA: Be my friend.

DON CORLEONE: Good. From me you'll get justice.

BONASERA: Godfather.

DON CORLEONE: Some day, and that day may never
come, I would like to call upon you
to do me a service in return.

(Mario Puzo, Francis Ford Coppola.
“The Godfather”. Paramount Pictures, 1971)




La formación de la subjetividad y sus contradicciones no solo ha sido un constante discurrir en la teoría del arte del último siglo; al mismo tiempo se ha asentado como un tópico central en los debates sobre las relaciones de poder en la modernidad. Una de las teorías más depuradas sobre el sujeto y el poder, desarrollada por Michel Foucault, sugiere conservar una conciencia histórica para pensar el poder, analizar sus relaciones, y lograr vincularlo con las experiencias que construyen nuestra de realidad.

En el presente proyecto, el padrinazgo es un concepto eje para señalar un modo predominante de ejercer el poder que regula relaciones entre individuos y entre grupos. Este poder consiste en un gesto paternal (impuesto por la tradición o el aprendizaje) que funciona principalmente en tres esferas sociales: religiosa, familiar y mercantil. El apadrinamiento compromete en distintos grados la asistencia, cooperación, compañía y respaldo del protector hacia un beneficiario denominado “ahijado”. Asimismo, bajo el título de padrino (asignado o voluntario) se puede manifestar el resguardo incondicional de varios individuos a la vez, viendo por su bienestar a lo largo de su vida. Este gesto es equiparable con lo que Foucault denominó “poder pastoral”, un tipo de poder servil, orientado al cuidado de cada individuo e incluso al sacrificio por la vida y “salvación” de la comunidad.

En la actualidad podemos identificar la figura del padrino en dos vertientes principales. La más arraigada es la vinculada a la ética cristiana tradicional, donde éste asiste en el sacramento de su ahijado, legitimándolo. La segunda comprende su papel en la familia y en el ámbito mercantil o empresarial, ambos consecuencia de la integración del poder pastoral al estado moderno y a sus instituciones. En la familia (consanguínea, política o simbólica), el padrino ejerce un poder patriarcal que, bajo una ética individual, determina las funciones y compromisos de sus miembros protegiendo a sus ahijados. Un ejemplo extremo de éste papel es el asociado con la Mafia (redes de agrupaciones secretas con poder político y económico, basadas en jerarquías carnales y afectivas), donde tiene un amplio reconocimiento. Por último, en el ámbito empresarial, el apadrinamiento generalmente cumple una función altruista ejercida por corporaciones, la cual implica la contribución voluntaria en la mejora de las condiciones de vida de individuos o grupos vulnerables, mediante proyectos de desarrollo que pretendan beneficiar a toda una comunidad.

En cualquiera de sus acepciones, el padrino ejerce cierto poder que conlleva modos de responsabilidad para ambas partes. Así el ahijado, sabiéndose beneficiario, adquiere el adeudo moral de responder dignamente a la garantía que se le ha otorgado.

Si bien en la esfera cultural contemporánea el poder pastoral reside principalmente en un catálogo de mecenas modernos (instituciones, empresas e individuos capaces de auspiciar, distribuir y legitimar la producción artística protagónica), éste poder también se ejerce desde el entramado de los productores, quienes ocasionalmente tienen la facultad de seleccionar bajo “libre albedrío” a sus similares para asistirles y cooperar para su mutuo desarrollo. La exposición El Ahijado apropia el gesto del apadrinamiento cómo mecanismo de selección de los artistas que la integran. Siguiendo esta lógica, cada uno de quienes conforman el comité curatorial (Alejandro Almanza, Anibal Catalán, Miguel Cordera, José Luis Cortés, Lucía Díaz y Helena Fernández-Cavada) apadrinó a un artista arbitrariamente, invitándolo a participar de la muestra. Bajo un criterio individual libre, el artista invitado o ahijado, debió a su vez apadrinar a uno más, y éste posteriormente a un último.

Más que aproximarse directamente al problema del ejercicio del poder, la obra que conforma esta exhibición es el testimonio de la práctica individual y grupal del mismo. Si asumimos que el poder únicamente existe cuando se ejerce, la diversidad del trabajo mostrado quizá sólo responda a la naturaleza de la relación entre cada par de artistas (padrinos y ahijados), que puede ser todo menos la manifestación de un consenso.

Finalmente, aunque el padrinazgo también pueda ser un ejercicio de poder bilateral, y a pesar de que Foucault haya pronunciado que no hay relación de poder sin resistencia, siempre existirá una oferta que no sea posible rechazar.



Artistas que participan en la muestra:


Paola de Anda
Amanda Gutiérrez
Begoña Morales

Tania Candiani
Enrique Ježik
Ivan Edeza

Edgar Orlaineta
Michalis Pichler
Misaki Kawabe

Ichiro Irie
Marissa Magdalena
Elyse Reardon-Jung

Andrés Basurto
Laura Ortiz
Abraham Jiménez

Nathalie Regard
Erika Harrsch
Jonathan Scott

Kunstgeschichte und Karaoke: Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed
(talk)

Donnerstag, 09. Juli, 19 Uhr, Badischer Kunstverein

"I fell in love" und "I fell out of love" heißen die Werke von Michalis Pichler in der aktuellen Ausstellung "LEARN TO READ ART:A History of Printed Matter" im Badischen Kunstverein. Die Publikationen entstanden 2006 für eine Ausstellung bei Printed Matter in New York.

Der Berliner Künstler ist am Donnerstag, 9. Juli, im Kunstverein zu Gast und spricht anhand aktueller Arbeiten über Strategien künstlerischer Aneignung. Dabei wird die Reflexion auf historische Vorläufer der späten 1960er und 70er Jahre wie Mel Bochner und Seth Siegelaub einen Schwerpunkt bilden.

Der Titel des Vortrages bezieht sich auf eine gleichnamige Publikation von Michalis Pichler und paraphrasiert einen Werktitel des Künstlers Mel Bochner aus dem Jahre 1966 - die letzten Worte "as art" entfallen. In dieser Publikation vereint Michalis Pichler Beiträge diverser Künstler. Unter anderem sind hier auch AA Bronson, Marcel Broodthaers oder Andreas Siekmann zu finden. Die Publikation ist bei Printed Matter erhältlich.

MICHALIS PICHLER, Künstler, lebt und arbeitet in Berlin. Pichler arbeitet konzeptuell, oft in Serien und mit gefundenem Material. Er bedient sich bei seiner Arbeit unterschiedlichster Medien wie Text,Publikationen, Photographie und Collagen, aber auch Skulptur und Eingriffe in den öffentlichen Raum. Ausgewählte Ausstellungen: 2009 "I Like The Truth, I Never Liked Fiction (and vice versa)", Rodeo Gallery, Istanbul; "FAX", Drawing Center, NY; 2008 AFTER, galerie de multiples, Paris, Salon Light, Paris; "FRIENDLY FIRE", NY Art Book fair (at Phillips de Pury & Company), New York; one night stand, KW Institute of Contemporary Art, Berlin
www.buypichler.com

LEARN TO READ ART
(group show)

3 July - 6 September 2009, Badischer Kunstverein
Opening: Thursday, 2 July 2009. 7 p.m.

Curated by AA Bronson




press release:



Learn to Read Art: A History of Printed Matter features a selection of artists’ books and editions from the history of the independent, non-profit organization Printed Matter in New York. The exhibition was curated by AA Bronson and is the first presentation outside of the USA and Canada. We are extremely pleased that AA Bronson will be present at the opening and that he will introduce his selection for the Badischer Kunstverein!

Ever since its establishment in 1976 by Carl Andre, Sol LeWitt, Lucy Lippard and others, Printed Matter has focused on the investigation and support of artists’ publications as an independent format of contemporary art production.



[...]



With contributions by:
Kathy Acker, Rita Ackerman, Lisa Anne Auerbach, Alice Aycock, John Baldessari, Matthew Barney, Kim Beck, Charles Beronio, Barbara Bloom, Marv Bondarowicz, Matthew Brannon, Paul Chan, Larry Clark, Francesco Clemente, Chuck Close, Anne Collier, Erin Cosgrove, Critical Art Ensemble, Dyke Action Machine, Jackie Ferrara, Fierce Pussy, Eric Fischl, Joseph Gabe, Marco Gastini, Jon Gibson, Liam Gillick, Robert Gober, Mark Gonzales, Felix Gonzales-Torres, Rodney Graham, Guerrilla Art Action Group, Guerrilla Girls, Chris Habib, K8 Hardy, Mona Hatoum, Matthias Herrmann, Matthew Higgs, Nancy Holt, Jenny Holzer, Douglas Huebler, Scott Hug, Ralph Humphrey, Rich Jacobs, Chris Johanson, Matt Keegan, Mary Jean Kenton, Martin Kippenberger, Terence Koh, Barbara Kruger, Tuli Kupferberg, Ellen Lanyon, Louise Lawler, Cary Leibowitz, LTTR, Sylvia Mangold, Christian Marclay, Ari Marcopoulos, Rita McBride, Ryan McGinness, Josephine Meckseper, Wes Mills, Aleksandra Mir, Jonathan Monk, Vik Muniz, Nieves, Claes Oldenburg, Yoko Ono, Michalis Pichler, Jack Pierson, Lucio Pozzi, Richard Prince, Raqs Media Collective, Red76, Edda Renouf, Reverend Jen, Faith Ringgold, Martha Rosler, Ed Ruscha, Tom Sachs, Fred Sandback, Chapman Scales, Klaus Scherübel, Max Schumann, Tony Shafrazi, David Shapiro, Adam Shecter, Cindy Sherman, David Shrigley, John F. Simon Jr., Josh Smith, Kiki Smith, Sonic Youth, Eve Sonneman, Nancy Spero, Michelle Stuart, Derek Sullivan, Temporary Services, Richard Tuttle, Ultra-Red, Lawrence Weiner, Christopher Wool, J. Meijin Yoon.







there will be 4 talks:



Thursday, 2 July 2009, 5 p.m. AA Bronson



Thursday, 7 July 2009, 7 p.m. Michalis Pichler



Wednesday, 15 July, 7 p.m. Frank Dommert



Wednesday, 2 September 2009, 8 p.m. Cornelia Lauf

FAX
(book)

published by The Drawing Center & Independent Curators International, NY

Fax presents works by a multigenerational group use the fax machine as a tool for thinking and drawing.

Published to accompany an exhibition at New York's Drawing Center, FAX includes the drawings, texts, examples of early telecommunications art (with inevitable transmission errors), junk faxes and fax lore that were all transmitted via the gallery's fax line.



curated by Joao Ribas



with contributions by: Julie Aranda, Roy Ascott, Tauba Auerbach, Fia Backström, Darren Bader, Cecil Balmond, BANK, Colby Bird, Pierre Bismuth, Barbara Bloom, Mel Bochner, Tobias Buche, Ian Burns, Cabinet Magazine, Etienne Chambaud, Cleopatra’s, Peter Coffin, Jan De Cock, Collage Center West, Liz Deschenes, Morgan Fisher, Claire Fontaine, Yona Friedman, Aurélien Froment, Ryan Gander, Wineke Gartz, Liam Gillick, Marisa Gonzalez, Dan Graham, Joseph Grigely, João Maria Gusmão & Pedro Paiva, Wade Guyton, HeHe (Helen Evans & Heiko Hansen), Skuta Helgason, Charline von Heyl, Matthew Higgs, Eduardo Kac, Matt Keegan, Zoe Keramea, Tom Klinkowstein, Germaine Kruip, Glenn Ligon, Jackson Mac Low, Dr. Ronald L. Mallett, Corey McCorkle, Josephine Meckseper, Eric Mitchell, Simon Dybbroe Møller, Olivier Mosset, Warren Neidich, Hans Ulrich Obrist, Kambui Olujimi, Serge Onnen, Mai-Thu Perret, Michalis Pichler, William Pope. L, Seth Price, Blake Rayne, Tobias Rehberger, Kay Rosen, Pamela Rosenkranz, Amanda Ross-Ho, Arnd Seibert, Sonia Sheridan, Matt Sheridan Smith, Alexandre Singh, Dexter Sinister, Josh Smith, Anne Tardos, Cheyney Thompson, Wolfgang Tillmans, Christian, Tomaszewski, Edward Tufte, Stan VanDerBeek, Olav Westphalen, Jack Whitten, Christopher Williams, Johannes Wohnseifer, Cerith Wyn Evans



200 pp, 29,7 x 21cm,
published by The Drawing Center/ Independent Curators International, NY, ISBN 978-0942324389

I Like The Truth, I Never Liked Fiction (and vice versa)
(group show)

Rodeo Gallery, Istanbul
May 30 – July 11, 2009
Opening: Friday, May 29 // 19:00 – 21:00


Banu Cennetoğlu
Documentation Céline Duval
Michalis Pichler
Walid Raad/ The Atlas Group
Helke Sander
John Stezaker
Eva Weinmayr



This exhibition has been worked out in a structured manner. Michalis Pichler and Eva Weinmayr were invited to invite two artists that work on the same line with them.

The initial invitation came from a long dialogue with the artists on the practise of printing and publishing as an artistic practise and what it means to use the media and the press as a medium to create new possible meanings and deconstruct the already existing ones.

Pichler’s obsession with newspapers and their imagery as well as his revision of conceptual works brings in the collection of texts and publications that drive from Mallarmé’s Un Coup de Dés along with a new three dimensional version of the 1897 poem. His work Clouds& Sky is a poetic series of eighty collages made from removing the air jets from the skies and leaving the clouds and skies to ‘breathe’. Pichler invites John Stezaker to generously contribute in the exhibition with a series of works dating from 1987 to 1998; titled “Sublimes” smoke from steam trains from England of the 30s and 40s, reaches the sky and becomes part of the cloud. The 1976 “Stolen Sky” is an image found in the same 1920’s encyclopedia that the third person archive comes from. The second invitation goes to Walid Raad/ The Atlas Group with a work from 2006 “We Can Make Rain But No One Came to Ask” in the form of a video panorama on the two decade history of Beirut’s destruction and urban changes; a collaboration between the artist and Yussef Bitar, an expert in ammunitions and researcher on the history of bombs explosions in cars and Georges Semerdijian, a photojournalist.

Eva Weimayr presents a publication she did for Istanbul on the stories of Havva Bağcı, a name and a hero(ine) in our everyday newspapers. One of her “Evening Standard” collection is here blown up and acts like a wallpaper, a decorative element that denies to be, a statement and gesture. Eva invites Helke Sander with a film she did in collaboration with Harun Farocki in 1967-68 on the Berlin riots against the Axel Springer press mafia and its monarchy in the current divided Germany. “ ‘Bild’ turns the world to a monstrous, local section” say the students and the documentary style protest of Sander rings local bells. The second contribution of Weinmayr is the invitation of Documentation Céline Duval with her mesmerizing Horizons IV, found photos of the artist’s collection on beach moments and the horizon.

The work of Banu Cennetoglu epitomizes the exhibition since the photos of the fake documents taken from an immigration centre of a police station in Holland and the slight changes within them.

www.rodeo-gallery.com/page.php?CID=2&mode=past&AID=103

UN COUP DE DÉS JAMAIS N‘ABOLIRA LE HASARD (sculpture)



Un Coup de Dés Jamais N'Abolira Le Hasard (A Throw of the Dice will Never Abolish Chance) is a book by Michalis Pichler published 2008/09 in Berlin. The work is a close copy of the 1914 edition of the french symbolist poet Stéphane Mallarmé's poem of the same name, but with all the words cut out by laser, in a way that corresponds directly to the typographic layout used by Mallarmé to articulate the text*.

A Preface features the entire poem written as a block of text with each line separated by a slash (/). This block-transcription of the Mallarme-Text was carried out in 1969 by Broodthaers.
12 double spreads follow, with immaculately cut out windows standing in for the text. When turning the pages, numerous shadows are being generated by the cutouts.

The work is soft bound and feels quite insubstantial. The cover is a facsimile of the original cover as published in 1914 by Librairie Gallimard, with the word 'SCULPTURE' replacing 'POEME' (or 'IMAGE') in the centre of the design.



500 copies are produced on paper, 90 on translucent paper and 10 on acrylic glass plates.




paper version: 32 pages, 32,5 x 25 cm, Ed. 500, 2008,
"greatest hits" Berlin, ISBN 978-3-86874-001-1 3

FAX
(group show)

Faxes sent to the initial showing of FAX at The Drawing Center, NY (April 17 - July 23, 2009, Opening: Thursday, April 16, 6-8 pm) will form the core of the exhibition, and will include seminal examples of early telecommunications art.
The exhibition is curated by João Ribas, curator of The Drawing Center, New York

FAX invites a multigenerational group of artists, as well as architects, designers, scientists and filmmakers, to conceive of the fax machine as a tool for thinking and drawing. Although the technology for transmitting printed images and texts over distance dates from the nineteenth century—a machine by Scottish mechanic Alexander Bain patented in 1843—it was the introduction of the modern fax through commercially available machines in the 1970s that turned facsimiles into a ubiquitous communications medium for international business.

Here, reproducible yet erratic production via the fax machine displaces traditional notions of the hand‚ still commonly associated with the medium of drawing, and foreground the role of drawing as a generative process.


Partial list of artists


Julieta Aranda
John Armleder
Tauba Auerbach
Fia Backström
Pierre Bismuth
Barbara Bloom
Mel Bochner
Tobias Buche
Ian Burns
Etienne Chambaud
Peter Coffin
Jan De Cock
Liz Deschenes
Helen Evans &
Heiko Hansen
Morgan Fischer
Aurélien Froment
Ryan Gander
Liam Gillick
Marissa Gonzalez
Joseph Grigely
Wade Guyton
Charline von Heyl
Eduardo Kac
Germaine Kruip
Glenn Ligon
Corey McCorkle
Josephine Meckseper
Simon Dybbroe Möller
Olivier Mosset
Warren Neidich
Olivier Mosset
Serge Onnen
Michalis Pichler
William Pope L.
Kay Rosen
Amanda Ross-Ho
Pamela Rosenkranz
Matt Sheridan Smith
Alexander Singh
Dexter Sinister
Josh Smith
Edward Tufte
Christopher Williams
Johannes Wohnseifer

http://www.buypichler.com/sonnets/sonnet_38.html

AFTER...
(group show)

gdm, Paris, November 22 2008 - January 8 2009

Boris Achour, Olivier Babin, Carsten Höller, Thomas Lélu & Jean-Max Colard, Mathieu Mercier, Jonathan Monk, Olivier Mosset, Guillaume Paris, Michalis Pichler, Xavier Theunis

gdm, galerie de multiples
17, rue Saint Gilles
75003 Paris
du mardi au samedi
de 11h à 19h
+33 (0)1 48 87 21 77
www.galeriedemultiples.com

Blattecke
(print ed.)

23,6x17,5cm
offset-print in grey and ivory colour on carton
signed and dated (the first 50 copies dated November 21 2008)
instead of ichter the signature reads ichler

(after Gerhard Richter, 1967)



produced on occasion of
AFTER... :
at gdm, galerie de multiples, Paris

www.buypichler.com/blattecke.html

hearts
(book)


A collection and archival documentation of discarded commodities, which carried depictions of hearts, found in public space mostly in Berlin, but also in Greece and New York City. The photo documentation is accompanied by transcriptions of every text carried by the found objects. A piece of serial photography and conceptual writing.



This book is volume 2 of an encyclopedia
(volume 1: stars & stripes aka 'new york garbage flag profile' / ISBN 978-3-865880-94-9)



21 x 14,9 cm, 212 pp., over 200 photos., PVC Flexocover, 2008, Revolver Frankfurt, ISBN 978-3-86588-464-0 and

AGRA Publications, Ahtens


www.buypichler.com/books.html

Smrt z Lasky?
(collage series)

12 collages, 40x28cm, paper and scotchtape, 2007

distorted rectangle ("waving")
(solo show)

Opening of an exhibition of the work of Michalis Pichler on Wednesday, July 25 2007 from 7 to 10 PM in the showrooms of Revolver, Frankfurt.



Stimmen zur Ausstellung/related voices:



The world is full of objects, more or less interesting. I do not wish to add any more.

I prefer, simply, to state the existance of things in terms of time and /or place.

More specifically, the work concerns itself with things whose inter-relatonship is beyond direct perceptual experience.

Because the work is beyond direct perceptual experience, awarness of the work depends on a system of documentation. D.H.



Fuer die Herren Kunstkritiker fuege ich hinzu, dass es ein weit groesseres Koennen erfordert, aus der kuenstlerisch nicht geformten Natur Werke auszuschneiden. K.S.



Read Ceçi n'est pas une pipe by Michel Foucault. M.B



If one focuses not only on the found object, but on the context it leaves behind when disappeared, this focus constitutes the objet perdu. A.K.



distorted rectangle ("waving") , presents an ephemeral recently disapperared object as well as 72 excerpts from the new york garbage flag profile.



On July 24 2007 at 2:50pm a cardboard box was found and collected from Am Markt 44, Kunstverein Frankfurt.

After collecting, on the place where it was found and removed, a plastic plaquette was placed, stating "ceci est un objet perdu".



Revolver, Archiv fuer aktuelle Kunst is located at Bethmannstrasse 13, Frankfurt (Main). The exhibition will have a small appendix in the Frankfurter Kunstverein.

http://www.buypichler.com/index5.html

hearts
(photography series)

103 photopairs with text, 30x40cm each, ed. of 3, 2006

www.buypichler.com/hearts.html

untitled (poem)

from the series: untitled (poems)
365 collages, 40x28cm each, paper and scotchtape, 2002 (ongoing)


www.buypichler.com/poems.html

untitled (poem)

from the series: untitled (poems)
365 collages, 40x28cm each, paper and scotchtape, 2002 (ongoing)


www.buypichler.com/poems.html

untitled (poem)

from the series: untitled (poems)
365 collages, 40x28cm each, paper and scotchtape, 2002 (ongoing)


www.buypichler.com/poems.html

untitled (poem)

from the series: untitled (poems)
365 collages, 40x28cm each, paper and scotchtape, 2002 (ongoing)


www.buypichler.com/poems.html

untitled (poem)

from the series: untitled (poems)
365 collages, 40x28cm each, paper and scotchtape, 2002 (ongoing)


www.buypichler.com/poems.html

untitled (poem)

from the series: untitled (poems)
365 collages, 40x28cm each, paper and scotchtape, 2002 (ongoing)


www.buypichler.com/poems.html

Homefront
(talk)

dictionary of war
Berlin edition: February 23 to 25, 2007



The fourth edition of Dictionary of War will take place on 23 and 24th of February 2007 in Berlin, Sophiensaele. It will be the final edition of a first round of four events that have been organized to start this project. The session is concluding with aPostcriptum at the historic site of the unconditional surrender of German Fascism in 1945, today's "German-Russian Museum" in Karlshorst.



The Berlin edition features contributions by: Jonathan Allen (UK) /Christian von Borries (DE) / Arianna Bove (IT/UK) / Heinrich Dubel(DE) / Stefan Doernberg (DE) / Felix Ensslin (DE) / Stefan Heidenreich (DE) / Emil Hrvatin (SI) / Peter Jahn (DE) / kuda.org(YU) / Andrea Moll (DE) / Vanessa Joan Müller (DE) / Quio & Darius James (US/DE) / Sylvere Lotringer (US) / Brian Massumi (CA) /Khalo Matabane (ZA) / Avi Mograbi (IL) / Martin Neumeier & Nathalie Landenberger (DE) / Michalis Pichler (DE) / Rimini Protokoll(DE) / Saskia Sassen (US) / Armin Smailovic (DE) / Simon Starling(UK) / Marcus Steinweg (DE) / Stephan Trüby (DE) / Meir Wigoder (IL) & Irit Rogoff (UK) / Soenke Zehle (DE)


http://dictionaryofwar.org/concepts/Homefront

i fell in love, i fell out of love, 100$, potato chips, airplanes, clouds & sky
(solo show)

an exhibition of the work of Michalis Pichler
on view from Saturday, January 21 through Saturday, February 4, 2006

opening reception and book launch: Saturday, January 21 from 5 to 7 PM


Printed Matter Inc. is pleased to announce the opening of an exhibition of the work of German artist Michalis Pichler this Saturday, January 21 from 5 to 7 PM. i fell in love, i fell out of love, 100$, potato chips, airplanes, clouds & sky, the name of the exhibition, is also the title of an ephemeral newspaper piece published on the occasion of the exhibition and designed to be given away at Printed Matter. At the opening reception we will also celebrate the launch of two books by Pichler, both published in 2005 by Revolver: "WAR"diary and New York Garbage Flag Profile. Printed Matter is located at 195 Tenth Avenue at 22nd Street.

Both "WAR"diary and New York Garbage Flag Profile originated during Pichler''s residency in New York as a DAAD Arts Fellow in 2003. Taking up themes and formal strategies introduced in his powerful newspaper piece from 2002, New York Times Flag Profile, the books investigate the phenomenon of patriotism in post 9-11 New York.

In "WAR"diary headlines from the Daily News are collaged onto the stockpages of the New York Times, creating subtle ghosts of words like OUTRAGE! BAGHDAD, and CAUGHT on top of or cut into endless columns of numbers. New York Garbage Flag Profile documents mass-produced materials like paper cups and plastic bags emblazoned with American Flags that the artist found discarded in public spaces in New York. Photographs of the objects are accompanied by transcriptions of the texts printed right onto them; Pichler refers to these transcriptions as poetry.

Though he is traditionally trained in architecture and sculpture and often involved in labor-intensive work processes, Pichler''s practice seems less concerned with artistic disciplines and more concerned with individual digestion of and response to cultural conundrums. Using public space as both source material and stage for his projects, he deploys the Situationist strategies of derive and détournement that position him as something of an urban trickster.

"WAR"diary, and New York Garbage Flag Profile, both published by Revolver, Frankfurt, are priced at $12, and $30 respectively and are available at Printed Matter and through our website www.printedmatter.org. i fell in love, i fell out of love...is available in the store for free.

For additional information, please contact Rachel Bers, Programming and Website Coordinator at (212) 925-0325 or at rbers@printedmatter.org.

Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists'' books and other artists'' publications.

Printed Matter, Inc. has received support, in part, through grants from the New York State Council on the Arts, the New York City Department of Cultural Affairs, Altria Group, Inc, the Milton & Sally Avery Arts Foundation, the Canadian Consulate General and the Government of Canada, The Cowles Charitable Trust, the CRH Foundation, Foundation for Contemporary Arts, The Gladys Krieble Delmas Foundation, the Fifth Floor Foundation, The Horace W. Goldsmith Foundation, LEF Foundation, Materials for the Arts, The Peter S. Reed Foundation, the Schoenstadt Family Foundation, The Starry Night Fund, The Roy and Niuta Titus Foundation, The Andy Warhol Foundation for the Visual Arts, and private foundations and individuals worldwide.

http://printedmatter.org/news/news.cfm?article_id=213

new york garbage flag profile
(book)

New York Garbage Flag Profile presents Berlin-based artist Michalis Pichler's six month long project in which he collected and documented discarded paper cups, plastic bags, pizza boxes, newspapers and other mass-produced materials emblazoned with the American Flag.



Photographed in the public waste baskets, gutters and snow drifts of New York where he found them, the individual items are catalogued on a facing page with uniformly formatted information about their location, the date of their collection, number of flags depicted, number of stars, number of stripes, etc. Each record also includes a full transcription of the text found on the item.



The nearly three hundred color photographs in the book are organized into forensic pairs showing the collection site before and after the artist's intervention. This clinical presentation however belies the artist's gentle, almost reverent approach to his material -garbage, after all.



view PDFs from this book:

pdf6 | pdf14 | pdf19 | pdf35 | pdf77 | pdf94


21 x 14,9 cm, 292 S., ca. 300 Abb., PVC Flexocover, 2005, Revolver Frankfurt
ISBN 3-86588-094-0

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clouds & sky #8

from the series: clouds & sky
80 collages, 28x23cm each, 2005

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clouds & sky #10

from the series: clouds & sky
80 collages, 28x23cm each, 2005

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clouds & sky #11

from the series: clouds & sky
80 collages, 28x23cm each, 2005

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clouds & sky #59

from the series: clouds & sky
80 collages, 28x23cm each, 2005

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clouds & sky #75

from the series: clouds & sky
80 collages, 28x23cm each, 2005

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stars & stripes
(photography series)

144 photopairs with text, 30x40cm each, ed. of 3, 2003

www.buypichler.com/stars_stripes.html

stars & stripes
(photography series)

144 photopairs with text, 30x40cm each, ed. of 3, 2003

www.buypichler.com/stars_stripes.html

stars & stripes
(photography series)

144 photopairs with text, 30x40cm each, ed. of 3, 2003

www.buypichler.com/stars_stripes.html