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MISS READ 2012

This year MISS READ is taking place in conjunction with abc art berlin contemporary during Berlin Art Week.
MISS READ will comprise a selection of about 60 international publishers and artists.
The festival will present artistic publishing and invited a selection of active contributors in this field to present their program to a wider public.

MISS READ
September 14th - 16th, 2012
Station Berlin, "Bananenhalle"
Luckenwalder Strasse 4-6
10963 Berlin


Picasso, Pablo  233, 285, 318

Pichler, Michalis  13, 14, 27-30, 47, 59,

     89, 92, 93, 105, 106, 107, 196, 202,

     203, 204, 206, 213, 223, 227, 228, 229,

     230, 235, 316, 332, 395, 396, 400-404

Piller, Peter  380, 381, 384-386

Pitz, Hermann  377

Poe, Edgar Allan  169, 187, 388

Pollock, Jackson  240, 242

pichler lenin

Including original artworks, book objects, prints and a tremendous selection of artists' books, HELP/LESS looks to the various modes and methods of appropriation in contemporary art, including: plagiarism, re-authorship, identity subversion, copyism, substration, redaction, curation from the Commons, collective authorship, forgery, theoretical translation, narrative appropriation and reprography.

July, August, September 2012. Juillet, Août, Septembre 2012. Juli, August, Septe


contributions by Eleanor Brown, Eric Doeringer, Craig Dworkin, Robert Fitterman, Michael Maranda, Jonathan Monk, Edgar Orlaineta,  Vanessa Place, Michalis Pichler, Seth Siegelaub, The Yes Men


36 pages, 21 x 29,7 cm, 2012, "greatest hits" Berlin
ISBN 978-3-86874-011-0

€ 20.00 (tax incl) order

John Cage, LECTURE ON NOTHING
 

Blank Book Makers In Memoriam Michael Gibbs
2nd to 17th June 2012
13h-19h Tuesday-Sunday

Appropriation, "corrected" press release

Appropriation
ESSAYS AND OBSERVATIONS
Maxstr. 1

artists: Johannes Regin, Jonathan Monk, Michalis Pichler, Pierre-Olivier Arnaud, and Roisin Byrne

In an art critical context, it does not make sense to seek a lineage in what we categorize as “appropriation art” that predates Marcel Duchamp’s readymade gesture. Dating here is an issue, as it’s not possible to see this gesture as having been understood prior to Duchamp’s Pasadena show in 1963. But dating aside, there is no need for confusion, for it is possible to be very clear: appropriation is not simply the borrowing of a style.

HOLIDAYS IN GREECE

 

**OPENING: May 11th, 7 pm. Performances 8.30 pm - open end

FREEbook pratiche democratiche e condivise del libro d'artista / democratic and

 

a cura di Emanuele De Donno/Giorgio Maffei
progetto di VIAINDUSTRIAE / STUDIO A’ 87

mostra / apertura: sabato 14 aprile 2012 ore 16.00
presso Palazzo Trinci, piazza della Repubblica, Foligno
durata mostra: 14 aprile | 20 maggio 2012

libri-progetti di • a constructed world • A/traverso/Bifo • Maia Asshaq/Danielle Aubert • Lisa Anne Auerbach • Darren Bader • Dave Hullfish Bailey • Lothar Baumgarten • Bernadette corporation • Andreas Broeckmann/Knowbotic Research • Joseph Beuys • Luther Blisset • John Cage • Giuseppe Chiari • Continuous Project • Critical Art Ensemble • Koenraad Dedobbeleer • Jeremy Deller • Nico Dockx • Eric Doeringer • eclectic electric collective • Cvedet Erek • Matias Faldbakken • Fillip 16 • Ryan Gander/Stuart Bailey • Jochen Gerz • Gilbert & George • Liam Gillick • Dan Graham • Agnieszka Grodzinska • Hans Haacke • Thomas Hirschhorn • Joe Jones • Brian Kennon • Ben Kinmont • Information as Material • Institute for Applied Autonomy • Junk Jet • Sol LeWitt • Armin Linke • Max Malandrino • Anthony McCall&Andrew Tyndall • Aleksandra Mir • Jonathan Monk • Antoni Muntadas • Maurizio Nannucci • Carsten Nicolai • Katja Novitzkova • Seth Price • Primary Information • Michalis Pichler • Linda Pollack • Richard Prince • Publication Studio • random press • Yann Serandour • Serving Library • Strano network • Superflex • Temporary Services • The Institute of Social Hypocrisy • Wolfgang Tillmans • tiqqun • Tommaso Tozzi • Jalal Toufic • UFO • Ultrared • Vague • Danja Vasiliev/Gordan Savicic • Stephen Willats • 80*81

January 5 - 31, 2012  Dworkin Goldsmith Monk Pichler

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.

Head Image taken from Johannes Dryander. Anatomiae, hoc est, Corporis Humani Dis

Dear All/Queridos todos/Cari tutti,

Crux Desperationis 2 Mental Issue, An Index of Potencial Works     is downloadable here:  
Crux Desperationis 2 Número mental. Un índice de obras potenciales      se puede descargar aquí:
Crux Desperationis 2 Numero mentale. Un indice di opere potenziali     si può scaricare qui:
featuring

 

CRAIG DWORKIN
Inscience
An autobiographical work recounting everything you can remember learning,
composed exclusively from the words you do not know (there are probably about
200,000 for a college-educated English speaker). Articles and prepositions exempted.
You may use a dictionary.

RICHARD KOSTELANETZ

„Une séconde d’éternité“ , Michalis Pichler 2009, Marcel Broodthaers 1972

The beginning of the system of lies (J'ai le mouvement qui déplace les lignes)
Exposition littéraire autour de Stirner et Baudelaire
01.03.2012 – 25.03.2012

Michalis Pichler

(deutsche Version unten)

The beginning of the system of lies (J'ai le mouvement qui déplace les lignes)
Exposition littéraire autour de Stirner et Baudelaire

03/01/2012 – 03/25/2012

„It appears to me, that the signature of the author, be it an artist, cineast or poet, is the beginning of the system of lies, that all artists try to establish to defend themselves, I do not know exactly against what.“ Marcel Broodthaers

The web of lies around the signature of the artist starts out in the streets of the fourth district. Posters spread like satellites on crucial street corners (Wiedner Hauptstrasse, Schleifmühlgasse, Kettenbrückengasse, Naschmarkt…). This web of references is typical for all of Pichlers work. The signature is the questionable “sign” (Markenzeichen) of the individual. The artist’s signature even has a direct relation the a material value. Somehow similar to the trade markes of clothes, cars and jewellery who dominate the public space.

This is the virulent starting point for Pichler’s ironic play with signature and authorship, its blurring and erasing. The film „Une séconde d’éternité“ is reduced from 24 to 18 frames per second by transferring it from 35 mm film to Super-8. The original piece by the Belgian concept artist Marcel Broodthaers shows his initials. M.B. The 18th frame finishest he line only for M.P. Leaving out a line changes the authorship. Much like the piece after Richter, that originally was signed “ichter”. Without the t–line the signature says “ichler”, like in “Pichler”.