Michalis Pichler Livres

This is the limited edition on transparent paper (90 copies), which has 64 pages. Un Coup de Dés Jamais N'Abolira Le Hasard (A Throw of the Dice will Never Abolish Chance) 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. -- Un coup de dés jamais n'abolira le hasard (SCULPTURE) ist ein Nachdruck des gleichnamigen Textes von Stéphane Mallarmé, jedoch sind alle Worte mit Laser ausgeschnitten. Ein Vorwort beinhaltet den gesamten Ursprungstext als Blocktext – diese Transkription hatte 1969 Broodthaers durchgefuehrt. 12 Doppelseiten folgen, mit Schnittfenstern anstelle der Textzeilen. Beim Umblaettern erzeugen die Fenster eine Vielzahl von Schatten.

The book features a faithful reproduction of Stéphane Mallarmé's 1914 poem, notable for its innovative typography and free verse structure. Words are laser-cut, creating a unique visual experience that anticipates later developments in graphic design and concrete poetry. The introduction by Michalis Pichler presents the poem in a single block, with verses separated by slashes, followed by pages with precisely cut windows that cast intriguing shadows when turned. This new edition makes the previously sold-out artist's book accessible again, showcasing Pichler's dual engagement in both visual art and literature.

A cross-reference book of information on aesthetic boundaries, consisting of a bibliography into which inserted text, critical essays, art works, and documents, are arranged chronologically and focused on a selection of so-called »greatest hits± and conceptual poetics. It contains mentions of such vaguely designated areas as appropriation, postnaive, unboring boring, détournement, object perdu, and erasure poetry — or writing through — as they currently occur (with occasional political overtones) in the work of Michalis Pichler. This book is the first monograph focused on the practice of artist/author Michalis Pichler. Featuring eleven critical essays, an extensively illustrated catalogue, a conversation with John Stezaker, and selected writings by the artist, the book delivers a solid introduction into conceptual poetics

SOME MORE SONNET(S) versammelt 44 Varianten eines Sonnettes von Dante Gabriel Rossetti, von dem Ulises Carrion bereits im Jahre 1972 andere 44 Varianten veröffentlichte. Während die Varianten von Ulises Carrion auf der Schreibmaschine entstanden, wurden die von Michalis Pichler auf dem Computer geschrieben.

Publishing Manifestos spans nearly 100 years, beginning with figures like Gertrude Stein and El Lissitsky, who represent early modernist avant-garde and Russian constructivism. The majority of the material is from the 21st century, reflecting our current context as artists and individuals. In recent years, independent publishing, art publishing, and DIY culture have experienced remarkable growth. This collection includes critical texts from key figures in the field, such as Tauba Auerbach, Michael Baers, Derek Beaulieu, and Jorge Luis Borges, among many others. These contributions highlight diverse perspectives on publishing as an artistic practice and counterculture. The book also features a comprehensive WHO IS WHO of publishers involved in the Miss Read festival, with 600 entries detailing their activities since the festival's inception in 2009. This extensive compilation not only showcases influential voices but also serves as a vital resource for understanding the evolving landscape of publishing today.

This Flipbook by Michalis Pichler, copublished by Kunstverein Publishing, Milano and „greatest hits“, Berlin, is a reformulation of the artist's film Une Seconde d'Éternité, d'après un idée de Charles Baudelaire e Marcel Broodthaers, 2010, 8mm film, b/w, 1 sec. In 1970 Marcel Broodthaers made a film Une Seconde d‘Eternité (D‘après une idée de Charles Baudelaire). In the 35mm film Broodthaers writes his signature MB in 24 frames, in which he updated the 19th-century poet’s ideas of creativity and narcissism for the age of cinema. Broodthaers created the film using animation, tracing the strokes of his signature on 24 frames of film (one per second), opening the camera shutter every time that he changed or manipulated the image. The artist toys with the idea of a signature: typically the artist’s guarantee of a work’s completion and authenticity, here the signature is notable for the absence of work it accompanies. 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 Pichler transferred Broodthaers' exact same frames to 8mm film, where 18 frames make a second. The result reads M. P, in Broodthaers handwriting.

Seth Siegelaub, (b. 19412013, New York) curator, gallery owner and author is best known for his promotion of conceptual art in New York during the 1960s and 70s. Books and Ideas after Seth Siegelaub looks at the books produced by Siegelaub in the 60s and their renewed influence on artists and their publications today. Pichler, curator of the exhibition at the Center for Book Arts NY (2013), offers this catalog as a window into an ongoing conceptual discourse with Siegelaubs books as the platform. Extensive illustrations and bibliographic details are featured including Siegelaubs Xerox Book (1968), which was printed in offset but has since been xeroxed and openly reproduced by numerous artists and publishers. His publications, often taken as starting points for new projects, are substantial artworks in their own right. Also included: Siegelaubs work with the Art Workers Coalition, a draft of The Artists Reserved Rights Transfer and Sale Agreement on contemporary art and activism, and a last interview with Siegelaub by Pichler.

This exhibition and publication stem from extensive research on writing titled “Possible Content for 18 Pages.” It centers on Vilém Flusser’s essay “The Gesture of Writing,” exploring the act of writing at the crossroads of linguistic, visual, physical, and spatial communication. Flusser outlines essential elements for writing: a blank surface, a contrasting instrument, letters of the alphabet, conventions for meaning, orthography, grammar, an idea to express, and a motive for expression. By viewing writing as a culturally embedded gesture, the work integrates artistic, literary, curatorial, and editorial practices. Published alongside a performance by Lois Bartel at the Akademie der Künste in Berlin, the book features a curatorial-editorial statement by Franz Thalmair. Contributions from Michalis Pichler and media theory professor Oliver Ruf contextualize the publication within contemporary literature and criticism. Participating visual artists enhance the research topic with original artistic works created specifically for this project. Text contributions include those from Michalis Pichler, Oliver Ruf, and Franz Thalmair, while artistic contributions come from Lois Bartel, Irma Blank, Daniel Gustav Cramer & Haris Epaminonda, Alejandro Cesarco, Natalie Czech, Agnes Fuchs & Thomas Freiler, Nikolaus Gansterer, Charles Gute, and Rafaël Rozendaal.

Künstlerheft im Spritusumdruckverfahren Broschur, 24 Seiten, 21x14,8 cm, Auflage 111 Erschienen 09/2014 ISBN 978-3-941601-94-9 Die Publikation erscheint in der Reihe 24copies.