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January 5 - 31, 2012 In 1969 Seth Siegelaub organized an exhibition (and publication) with the title January 5 – 31, 1969, one of the first exhibition projects of conceptual art, with the participation of Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner.
17,5 x 21 cm, 20 Seiten, 2012, ed. 400 |
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SOME MORE SONNET(S) collects 44 variants of a sonnet, that was originally written by Dante Gabriel Rossetti, and which was already published in 44 variations by Ulises Carrion in 1972. About this book: Right with Pichler's first sonnet, the "TIMES NEW ROMAN SONNET", it becomes clear that 37 years went down the road between Carrión's publication und Pichler's series, and in the meantime new possibilities of layout, producing text and distributing literature emerged. In this sense Pichler carries out a technical modernization of Carrión's cycle, if he adds an "EMAILED SONNET"and"FAXED SONNET" to Carrión's letter-, telegraphed or dictated sonnets, or if he installs different layouts which would have been difficult to do on a typewriter, but are easy tasks with an computer, such as a "LEFTBOUND SONNET", a "RIGHTBOUND SONNET", a "CENTERED SONNET", a "TABBED SONNET", variations of a "RASTER SONNET"etc. While the raster sonnets recall the specific spatiality and visuality of the sonnet as "lengthwise and crosswise linked structure", but most of those graphically unleashed sonnet variants also demonstrate, that it is possible to organize a sonnett typographically quite unusual, without it necessarily losing its categorization as sonnet. (...) However, Pichler does not appropriate only Rossetti and Carrión, as he announces in his "BIBLIOGRAPHY" but also specific other modern 'classics' from the history art, books and literature - often so without providing obvious, indicative labels. - Annette Gilbert in "Geliehene Sonette. Appropriationen des Sonetts im Conceptual Writing (Dmitrij Prigov, Ulises Carrión, Michalis Pichler)"
29,7 x 21 cm, 90 pages, 2011, ed. 400 |
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SIX HANDS AND A CHEESE SANDWICH By now the appropriation and paraphrasing of Ed Ruscha constitutes a genre of its own. The first were 1968 Bruce Nauman with 'Burning Small Fires' and 1971 'Ed Ruscha' (actually Joel Fisher) with 'Six Hands and a Cheese Sandwich', with further appropriations or hommages over the decades, and in the last years it almost became fashionable, the evidence is massive. Ruscha der Fischotter aka: Printed Matter And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As After Ruscha aka: One Hundred Views Of One Hundred Views Of Mount Fuji, If Someone Says So aka: SIX HANDS AND A CHEESE SANDWICH is a book about books, a catalogue and an art/bookwork in its own right. (ed.) Michalis Pichler 14 x 18 cm, 20 Seiten, 2011, ed. 3000 |
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Monsanto Company Earnings Call Transcript Taken 100% from reality, this is a full length transcript of the fourth quarter 2009 Monsanto Company Earnings Conference Call, treated, layouted, published and performed as an original theater piece (on occasion of the exhibition & symposion "The apparatus of life and death" at the Museum of Contemporary Art Skopje). 36 Pages, 10 x 15 cm, 2010 request copy |
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The Ego and Its Own (Chinese Edition)
464 Pages and Slipcover, 10 x 15 cm, 2010, ed. 200 |
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Der Einzige und sein Eigentum Michalis Pichler, with an afterword by Annette Gilbert, an epilogue by Craig Dworkin and excerpts by Max Stirner about this book: How beggarly little is left us, yes, how really nothing! Everything has been removed," writes Max Stirner in Der Einzige und sein Eigentum. Everything, that is, in the case of Michalis Pichler's edition of the book, save the first person pronouns. By the grace of Pichler's conjuring, those words haunt Stirner's otherwise repressed text, floating against the white sheets of the page. Remaindered, the rendered I remains (remains to be seen). Haunting, in fact (as Jacques Derrida notes in Spectres de Marx), is at the heart of Stirner's work. But what murder has left us with this specter avenging the desecration of the partially buried body of the text? Stirner argues that when the force of the master is removed it becomes a ghost, manifesting itself in some version of the Law. Accordingly, while both the author and God (Einziger) may be dead, we still — as Nietzsche warned — have grammar. And grammar, in turn, haunts the declensions of the reventant nouns here — a phantom limb, felt but unseen, surrounding the dismembered residium of autistic printed matter. The possession is thus complete: demonic, obsessive, anarchic (impropre): "through a lucky chance or by stealth," "by force or ruse," as Stirner phrases it, Pichler's creative plagiarism has taken the permission of impression, of the right to print, from both Stirner and from himself. At the same time, his textual choices, his paradoxical repetition of the ostensibly unique, insists on a "corporeal ego" that cannot be removed from the defining idea of this ideal project. The most abstract, conceptual gestures must always be embodied. Here then is conceptual art as confessional lyric, the spirit and the letter, the flesh made word. It is only through the flesh, Stirner counsels, that we can break the tyranny of the mind. 464 Seiten, 10 x 15 cm, 2009, ed. 2000 |
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TWENTYSIX GASOLINE STATIONS The same building photographed all over different locations in Brandenburg, Thuringen, Sachsen-Anhalt and Mecklenburg-Vorpommern. The book comes with translucent wrappers. “Michalis Pichler riffs on Ed Ruscha’s first book in Twentysix Gasoline Stations. (…) Identical gasoline stations in Buck Rogers’ postwar American styling scattered across contemporary Germany.” AA Bronson
36 pages, 18 x 14 cm, 2009, ed. 550 (ed. 50 with white UV-Lack on Cover) |
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Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed The title is a paraphrase of and direct reference to Mel Bochner's landmark project from 1966 as organized with the SVA (School of Visual Art, NY), which is by now considered as the first exhibition of conceptual art. The publication assembles invited contributions by the people listed below, among them Mel Bochner, who participates in the appropriation of his own project by emailing back the invitation, which had been faxed to him. (ed.) Michalis Pichler, with contributions by: AA Bronson, Anonymus*, Inaki Bonillas, Mel Bochner, Marcel Broodthaers*, Heath Bunting, Alice Creischer, Brad Downey, Kenneth Goldsmith, Ellen Harvey, Burkhard Holdorff, Douglas Huebler*, Deborah Kelly, Sol LeWitt*, nature*, Akim Nguyen, Edgar Orlaineta, Grisha Perelman*, Michalis Pichler, Peter Piller, Adrian Piper, Johannes Raether, Allen Ruppersberg, Stefan Schuster, Andreas Siekmann, Evgenia Tsalagrada, Xerox*, Haegue Yang, Adam Zaretsky
29,7 x 21 cm, 194 Pages, xeroxed, 2008, |
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Dirty Diet Disease (aka The Newpaper #1) It's a newspaper about newspapers. The content reveals an artist's eye view of newspapers alongside articles about their artwork. I wanted to make a paper that mirrored a newspaper in style and in content but also dissected what a newspaper is. (ed.) Eleanor Brown with contributions by: Khuram Aziz, Fiona Banner, Jo Brinton, Craig Burnett, Brian Butler, Gordon Cheung, Martin Creed, Mirta Dermisache, Graham Dolphin, Paul Eachus, Jacob Fabricius, Angus Fairhurst, Noshin Farhid, Rainer Ganahl, Althea Green, Adrian Lee, Alex Hamilton, Louise Hokins, Melanie Jackson, Ali MacGilp, Mark McGowan, Jan Mancuska, Hugh Mendez, Carol Morley, Rebecca Page, Michalis Pichler, Elizabeth Price, Michele Robecchi, Kim Rugg, David Shrigley, Vibeke Tandberg, Kat Topaz, Andrew Stevens, Miria Swain, Gillian Wearing, Eva Weinmayr cover by Eva Weinmayr
36 Seiten broadsheet newspaper 419 x 578mm, ed. 1000 copies
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- ! (aka N E W P A P E R # 2) The Newpaper is a newspaper about the work of artists and writers who use the language, visuals or structure of newspapers in their practice. Edited by Eleanor Brown, collages by Vibeke Tandberg, Eye-Movement-Drawings by Jochem Hendricks, cover by Michalis Pichlerconcrete poetry by Kenneth Goldsmith, checkboard, and other artistic contributions, as well as theoretical texts. with contributions by: Iganasi Aballi, Matt Bryans, Craig Burnett, Celine Duval, Kenneth Goldsmith, Savannah Gorton, Jochem Hendricks, Hugh Mendez, Michalis Pichler, Michele Robecchi, Vibeke Tandberg, Anke te Heesen, (un) limited store, Lucy Woodhouse and others
40 pp tabloid newspaper 28,7 x 38cm, ed. 1500 copies, |
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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 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*. 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,
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UN COUP DE DÉS JAMAIS N‘ABOLIRA LE HASARD (sculpture) 90 numbered copies are produced on translucent paper. translucent paper version: 64 Seiten, 32,5 x 25 cm, 2008 |
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Local Paper (aka Newpaper #3) Local paper a literature/art project in the format of a local newspaper. Local paper will be edited, produced and distributed in East London and develop out of a process. (The contributors and the public will invited to come and see the process involved in producing an independent publication and to contribute to the paper with their ideas and content.) (ed.) Eleanor Brown with contributions by: Steven Gill, Tom Hunter, Kunstzeitung Zeitungskunst (Guy Schraenen), Peter Kennard
42 x 30 cm, 36 pages, rotation offset on newsprint paper, 2009
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© 2008-2012 "greatest hits", (ed.): A. Karfas & M. Pichler, Steglitzer Damm 100, 12169 Berlin, pichler13(at)yahoo.com, VAT DE 243914923 |