Text

Text by
Pichler, Michalis, "The Work of Art in the Age of Digital Reproducibility," in Publishing Manifestos (Cambridge, Mass.: MIT Press, Berlin: MISS READ, 2019), 268-275.
Pichler, Michalis, "Publishing Publishing Manifestos," in Publishing Manifestos (Cambridge, Mass.: MIT Press, Berlin: MISS READ, 2019), 12-19 online online (excerpt 1), online (excerpt 2).
Pichler, Michalis, "PAGE PIECES," in Publishing Manifestos (Berlin: MISS READ, 2018), 233.
Pichler, Michalis, "Fragments: Life and Opinions of a Real Existing Artist (Book Swapping & Seriosity Dummies)," in Publishing as Artistic Practice, ed. Annette Gilbert (Berlin: Sternberg Press, 2016), 206-209. PDF
Pichler, Michalis, "Statements on Appropriation," (2009) online. PDF
Pichler, Michalis, "Appropriation," New York: Printed Matter, Inc. (2009) online.
Interviews
Hindley, Victoria, "Publishing as Artistic Practice: In Conversation With Michalis Pichler," Camebridge, MA: The MIT Press Reader 8 (2019) online.
Dundon, Alice, "10 Things to Know About Berlin's Art Book Festival," culture trip 8 (2018).
Kühl, Lynn, "10 Jahre Miss Read Ein Gespräch mit Michalis Pichler," Berlin: gallerytalk.net, , 2018 online.
Moroz, Sarah, "The Best of Berlin with Miss Read Director Michalis Pichler," blouinartinfo (2018).
Pichler, Michalis and Monk, Jonathan, "Fotoserie als eine Art Selbstportrait: „Und die Kinder spielen dann mit“," Berlin: taz (2016), 43 online.
Watty, Christine , "Meisterwerke zwischen Buchdeckeln: Michalis Pichler im Gespräch mit Christine Watty," Deutschlandfunk Kultur , 6, 2016 online.
Stezaker, John, "Nono Yeahyeah," in Thirteen Years: The materialization of ideas from 2002 to 2015 (New York: Printed Matter, Inc., Leipzig: Spector Books, 2015), 217-224. PDF
"Standardized interview with 18 publishers," Journal Salon Light 9 (2013), 2–10.
"MEDIA HABITS: Michalis Pichler," in The Last Express (New York: The New Museum, 2010), 8.
"작업 중인 드로잉과 볼 필요는 없지만 종이 위의 비 주얼한 것들 / Working Drawings and Other Visible Things on Paper not Necessarily Meant to be Viewed," GRAPHIC 10 (2009), 46-49.
"Kunst ist für mich Forschung," Kölner Stadt-Anzeiger, February 2–3, 2002.
Monograph
Thirteen Years: The materialization of ideas from 2002 to 2015, ed. Annette Gilbert and Clemens Krümmel (New York: Printed Matter, Inc., Leipzig: Spector Books, 2015).
- "The Signature of the Author," Annette Gilbert
- "This Is the Reconnaissance. Ideology and duplication in the work of Michalis Pichler," Stefan Ripplinger
- "All The News That’s Fit to Print," Eleanor Vonne Brown
- "SCULPTURE LECTURE Reading Un coup de dés," Magnus Wieland
- "After Michalis Pichler after Edward Ruscha after Hokusai," Jean-Claude Moineau
- "Media Metamorphoses," Tobias Amslinger
- "How Beggarly Little is Left Us," Craig Dworkin
- "The Universal Library of Appropriation," Patrick Greaney
- "Representation of Prestige or Gallery of Cardboard Characters," Matthias Bleyl
- "The Past is Never Dead. It’s Not Even Past," Ariane Müller
- "PICTURE-PERFECT APPROPRIATIONS," Mark Gisbourne
- "Nono Yeahyeah," Michalis Pichler in conversation with John Stezaker
- "Statements on Appropriation," Michalis Pichler
- "Sentences on Conceptual Reading," Michalis Pichler
- "The Work of Art in the Age of Digital Reproduction," Michalis Pichler
- Name Index
Essays, Articles and Reviews
Palmieri, Brooke Sylvia, "Michalis Pichler, Editor. Publishing Manifestos," Northhampton, MA: Printing History, , 2019 online excerpt.
Sowden, Tom, "Exploring Appropriation as a Creative Practice," MDPI Arts / Issue 8 / Volume 4 (2019) online.
Feustel, Marc, "The Ginza Strip fait par Michalis Pichler (Kodoji Press) revisité ," Paris: The Eyes #10 (2019).
Peterson, Ashley, "Publishing Manifestos ARLIS review," Oak Creek, WI: ARLIS/NA, , 2019 online.
Chris, Fite-Wassilak, "Publishing Manifestos review," London: Art Review Apr2019, Vol. 71 Issue 3 (2019), 100.
Liberty, Megan N., "Michalis Pichler's Publishing Manifestos," Brooklyn: The Brooklyn Rail Dec2018/Jan2019 (2018) online.
Sbrilli, Antonella, "Alfagiochi / Miss Read," Milan: alfabeta2, , 2018 online.
Shepherd, Harriet, "Discover the Most Eye-Catching Covers at Miss Read 2018," Berlin: Sleek, , 2018 online.
Froger, Lilian, "review: Books and Ideas After Seth Siegelaub," Rennes: Critique d’art (2016) online.
Malyszewski, Lynn , "Michalis Pichler The Ego and Its Own, caa.reviews," New York: College Art Association (2015) online.
Moineau, Jean-Claude, "AFTER MICHALIS PICHLER AFTER EDWARD RUSCHA AFTER HOKUSAI," in Sans niveau ni mètre #37. Journal du Cabinet du livre d’artiste, ed. Leszek Brogowski and Aurélie Noury (Rennes: Éditions Incertain Sens, 2015).
Wieland, Magnus, "Literarische Aneignungen / Kongeniale Kopisten," Zurich: Neue Züricher Zeitung (2015) online.
DeRidder, Widukind, "Wat hebben jullie ertegen wanneer ik jullie je zuivere kunst teruggeef?," in Michalis Pichler, De enige en zijn eigendom (Ghent: MER. Paper Kunsthalle, 2015), inside slipcover.
Dworkin, Craig, "Hur ohyggligt lite har icke blivit kvar för oss," in Michalis Pichler, Den ende och hans egendom (Stockholm: OEI Editör, 2015), inside slipcover.
Gilbert, Annette, "Reradikaliserade kritiska sammanfattningar," in Michalis Pichler, Den ende och hans egendom (Stockholm: OEI Editör, 2015), inside slipcover.
Greaney, Patrick, "The Universal Library of Appropriation," in Michalis Pichler, The Ego and Its Own (Brooklyn: Ugly Duckling Presse, 2015), backcover and inside slipcover.
Dworkin, Craig, "Zo armzalig weinig is ons overgebleven," in Michalis Pichler, De enige en zijn eigendom (Ghent: MER. Paper Kunsthalle, 2015), inside slipcover.
Gilbert, Annette, "Buchpiraten: Zu einer anderen Art des Büchermachens / Book Pirates: On a New Art of Making Books," in Reprint. Appropriation (&) Literature, ed. Annette Gilbert (Wiesbaden: luxbooks, 2014), 9–77.
Kostelanetz, Richard, "Review – Michalis Pichler’s Some More Sonnet(s)," Blog artzines.de, September 7, 2013 online.
Reboul, Stéphane, "Déclaration sur l’appropriation et autres axes de travail de Michalis Pichler," Marges: Remake, Reprise, Répétition 17 (2013), 126–128.
Reboul, Stéphane, "Typologie pragmatique de la reprise des livres d’artiste d’Ed Ruscha," Marges: Remake, Reprise, Répétition 17 (2013), 21–43. PDF
Rubinstein, Raphael, "Ulises Carrión / April 5 2013," The Silo (2013), 36–42.
Taylor, Phil, "SECHSUNDZWANZIG AUTOBAHN FLAGGEN" and "TWENTYSIX GASOLINE STATIONS," in VARIOUS SMALL BOOKS: Referencing Various Small Books by Ed Ruscha, ed. Jeff Brouws, Wendy Burton and Hermann Zschiegner (Cambridge, Mass.: MIT Press, 2013), 122–123, 188–189.
Gramatzki, Susanne, "»Le plagiat est nécessaire«: Zur Ästhetik der Aneignung" Rezension von Annette Gilbert (Hg.), Wiederaufgelegt. Zur Appropriation von Texten und Büchern in Büchern. Bielefeld: Transcript, 2012. 422 S., Saarbrücken: KulturPoetik (2013) online.
Gilbert, Annette, "Geliehene Sonette. Appropriationen des Sonetts im Conceptual Writing (Dmitrij Prigov, Ulises Carrión, Michalis Pichler)," in Sonett-Künste: Mediale Transformationen einer klassischen Gattung, ed. Erika Greber and Evi Zemanek (Dozwil: Edition Signathur, 2012), 455–489. PDF
Kassner, Jens, "Alles ausradiert, außer ich," Jens Kassner. Ein Leipzig-Blog, March 29, 2012 online.
Lupette, Leonce W., "Edition. Distribution. Programm. Appropriation und Verlage," in Wiederaufgelegt. Zur Appropriation von Texten und Büchern in Büchern, ed. Annette Gilbert (Bielefeld: transcript, 2012), 217–230.
Ramtke, Nora, "Ohne Begleitschutz – Texte auf der Schwelle. Überlegungen zu Textappro- priationen und Paratext," in Wiederaufgelegt. Zur Appropriation von Texten und Büchern in Büchern, ed. Annette Gilbert (Bielefeld: transcript, 2012), 103–119.
Velter, Johan, "max stirner michalis pichler," SFCDT, March 13, 2012 online.
Velter, Johan, "wat rollen blijft," SFCDT, March 15, 2012 online.
Wieland, Magnus, "about blank: Appropriationen des Leerraums seit Mallarmé," in Wieder- aufgelegt. Zur Appropriation von Texten und Büchern in Büchern, ed. Annette Gilbert (Bielefeld: transcript, 2012), 193–216.
Boglione, Riccardo, "Riscrivendo l’illeggibile: quarto cancellature del Coup de Dés," (Genova: Ocra Press, 2011), 29-32.
Dejaco, Victoria, "Stéphane Mallarmés Raumkonzept in zeitgenössischen Positionen," (Diploma Thesis, Universität Wien, 2011).
Freeman, Brad, "Books Received," Journal of Artists’ Books 29 (2011).
Megla, Maja, "Prelistajme in obesi!," DELO NEWSPAPER, March 10, 2011, 15.
Sowden, Tom, "Follow-Ed (After Hokusai)," in Print Matters, ed. Linda Newington et al. (London: University of Southhampton and Tate Library, 2011), 36–41.
Žbontar, Zora, "1005 besed s Prušnikove 74," Radio Student FM89.3, March 16, 2011 online.
Amslinger, Tobias, "Nur Ich und nichts als Ich," Wespennest, Zeitschrift für brauchbare Texte und Bilder 161 (2011), 104.
Drucker, Johanna, "Artists’ Books and Conceptualism(s)," in MULTIPLE, LIMITED, UNIQUE: Selections from the permanent Collection of the Center for Book Arts, ed. Alexander Campos (New York: The Center for Book Arts, 2011), 17–25.
Breternitz, Juliane, "Der ewige Kreislauf," in It’s a Kind of Magic! Mystifizierung und Demystifizierung im Kontext der Künstlerpublikationen seit 1960, ed. Anne Thurmann-Jajes (Bremen: Studienzentrum für Künstlerpublikationen, 2010), 30–35.
Holm, Andrej, "Berlin: Kunst gegen Gentrification?," Gentrification Blog, June 29, 2010 online.
Knoblauch, Jochen, "Der Einzige und Seine Interpretation," Espero 65 (2010), 34–35 online. PDF
Sowden, Tom, "Ruscha Rip-Off Rip-Out," Afterimage 37 (2010), 19–22.
Zboya, Eric, "Dimensional Translations: A Topological Journey Beyond the Two-Dimensional Space of the Page in Stéphane Mallarmé’s Un Coup de dés," (Honours Thesis, University of Calgary, 2010).
Bronson, AA, "Nine Books I Like," The Journal – Contemporary Culture 28 (2010), 176–179.
DeRidder, Widukind, "Besprechungen: Der Einzige und sein Eigentum," Das Argument 289 (2010), 922-923.
Cate-Gumpert, Sam, "The Anxiety of Influence," mono.blog by mono.kultur magazine, December 28, 2009 online.
Dworkin, Craig, "Wie bettelhaft wenig ist uns verblieben / How beggarly little is left us," in Michalis Pichler, Der Einzige und sein Eigentum (Berlin: ”greatest hits”, 2009), 457–460.
Dworkin, Craig, "Wie bettelhaft wenig ist uns verblieben, Epilogue," in Michalis Pichler, Der Einzige und sein Eigentum (Berlin: ”greatest hits”, 2009).
Gilbert, Annette, "Nachwort / Afterword," in Michalis Pichler, Der Einzige und sein Eigentum (Berlin: ”greatest hits”, 2009), 423–456.
Gorton, Savannah, "Front page sensationalism and patriotism for the sake of consumerism," The Newpaper 2 (2008), 27.
Karfas, Arthur, "Certain Things which lay within the class of what is frightening," in Art in the Biotech Era, ed. Melentie Pandilovski (Adelaide: Experimental Art Foundation, 2008), 52–58.
Pandilovski, Melentie, "Introduction," in Art in the Biotech Era (Adelaide: Experimental Art Foundation, 2008), 1-5.
Sérandour, Yann, "Serial Killers. Fortune et infortunes des livres d’Edward Ruscha," Nouvelle Revue d’Esthetique 2 (2008), 51–56.
Viera Muñoz, Zurisaday and Cañada Vila, Pere, "YOU ARE INVITED," in I like America. Does America Like Me?, ed. Zurisaday Viera Muñoz and Pere Cañada Vila (Olot: espai zero, 2008), 6-7.
Kock, Gerhard, "Kunst-Piraten überfallen Münster," Westfälische Nachrichten, ­September 19, 2007.
Robecchi, Michele, "New York Stories," The Newpaper 1 (2007), 2.
Jochheim, Bettina, "Kraftvolle Tiere und ein Haufen Müll," Kölner Stadt-Anzeiger, January 31, 2004, 45.
Styrie, Hanna, "Das wird ja immer schlimmer," Kölnische Rundschau, January 31, 2004.
Morcinek, Martin, "Kunst und Kunden - Zensur im New Yorker Goethe-Institut?," Amerikawoche, June 9, 2003, 11.
Ringendahl, Alexandra, "Der Metzger denkt an Austritt," Kölner Stadt-Anzeiger, February 1, 2002, 13.