CV
Education
2004
Fine Arts/Sculpture Diploma, Art School Berlin-Weissensee
2000
Architecture Diploma, Technical University of Berlin
1997
Fellow at the Preservation site of the Acropolis Monuments Athens
Residencies
2008
Artist in Residence, maison flottante, centre national de l’estampe et de l’art imprimé (cneai), Paris
2004
Artist in Residence, Lion Arts Center, Adelaide
2003
DAAD Arts Fellow, New York
1998
DAAD study residency, Athens
Selected Solo Exhibitions
2016
"Exposition littéraire autour de Mallarmé," Kunstverein (Milano), Milan
2015
"Greatest Hits," Printed Matter, Inc., New York (cat.)
"The Complete Films," OEI colour project, Stockholm
2014
"Sonnet(s) & Other Sonnet(s)," OEI colour project, Stockholm & X Marks the Bökship, London
2013
"Sonnet(s) & Other Sonnet(s)," PrintRoom, Rotterdam
"Sonnet(s) & Other Sonnet(s) / Vis à Vis 3 (Ulises Carrión – Michalis Pichler)," Daviet-Thery, Paris
2012
2008
"Quinze," Espace Surplus, Berlin (cat.)
2007
"distorted rectangle (‘waving‘)," Revolver, Archiv für aktuelle Kunst, Frankfurt with a satellite in Kunstverein Frankfurt
2006
"i fell in love, i fell out of love, 100$, potato chips, airplanes, clouds & sky," Printed Matter, Inc., New York
2005
"The lost empire and the empire to be lost," 5uper.net, Museumsquartier, Vienna
2003
"48 Hours Vs Hell No I Won’t Go," basement #18, Pratt Institute, Brooklyn
Selected Group Exhibitions
2022
"Exposition / SURE SHOT* 1 – FAUX CONTACT," ESADHaR, Rouen
2021
"Désacraliser - La Tentation de Saint-Antoine," FRAC Haute-Normandie, Sotteville-lès-Rouen
"Enjoy Künstlerbücher," mumok, Vienna
"Apt 13’s A New Museum’s Triennial," FR MOCA, Fall River
2020
"Collector, quand l’art devient livre," Bibliothèque l’Alcazar, Marseille
2019
"B," Belmacz, London
"Conceptual Poetics Day 2019," Haus der Kulturen der Welt, Berlin
" A construção do livro [de artista]," Universidade Federal de Minas Gerais, Belo Horizonte
"Calculated Chance," Societe, Brussels
"Estragon," Belmacz, London
"PANORAMA 2," FRAC Provence-Alpes-Côte d’Azur, Marseille
"Republished: Questioning Boundaries," das weisse haus, Vienna
2018
"Conceptual Poetics Day 2018," Haus der Kulturen der Welt, Berlin
"RÉSONANCE - Partie 2," FRAC Normandie, Rouen
"Un campo oscuro ," Centro José Guerrero , Granada, Spain
"EXPO Réactiver," Galerie 65 de l’École Supérieure d’Art et Design, Le Havre
"PANORAMA 1 : Tous les jours, je me dis qu’il ne faut pas que je craque," FRAC Provence-Alpes-Côte d’Azur, Marseille
"RÉSONANCE - Partie 1," Musée des Beaux-Arts, Rouen
2017
"Publishing as an Artistic Toolbox: 1989–2017," Kunsthalle Wien, Vienna
"Andere Bücher / Otros libros," Goethe-Institut Chile, Santiago de Chile
"Conceptual Poetics Day 2017," Haus der Kulturen der Welt, Berlin
"art. poetry. space," Ursula Blickle Stiftung, Kraichtal
"Artists' Books for Everything," Research Centre for Artists’ Publications, Weserburg Bremen
"Selección Natural – This is the Cover of the Book," 019 — Museum Of Moving Practice, Ghent
"The Rise of Bio-Society," Riddoch Art Gallery, Mount Gambier, South Australia
"Off the Shelve: Modern & Contemporary Artists´Books," Baltimore Musum of Art, Baltimore, Maryland
2016
"les Editions (Un)Limited Store," FRAC Provence-Alpes-Côte d’Azur, Marseille
"Xerox," Societe, Brussels
"Ed Ruscha Books & Co," Gagosian, Los Angeles (cat.)
"Reading Mashines," Kunsthal, Aarhus
"*Helter Skelter Vol.III," Kulturpalast Wedding International, Berlin
"Conceptual Poetics Day," Akademie der Künste, Berlin
"COMING OF AGE," Torpedo, Oslo
"Der Schatten des Körpers des Kutschers / The Shadow of the Body of the Coachman," KUNSTSAELE, Berlin
2015
"Artphilein on Display: Visual Poetry – Stéphane Mallarmé," Choisi, Lugano
"Proyecto para un texto / Project for a Text," Cosmopoética, Cordoba (cat.)
"Gomringer+," Kunstverein Bielefeld, Bielefeld (cat.)
"Re: follow-ed (after hokusai)," Cabinet du livre d’artiste, Université Rennes (cat.)
"Conceptual Poetics Day," Akademie der Künste, Berlin
"OLD NEWS (again)," centre national de l’estampe et de l’art imprimé (cneai), Paris
"This is the cover of the book," Arts Libris, Barcelona (cat.)
"BOOKS & CO," Gagosian, Paris (cat.)
"Ed Ruscha (and tributes)," Choisi, Lugano
2014
"Hausbesetzung," Nassauischer Kunstverein, Wiesbaden
"The Liberated Page," Le Commun, Geneva
"Postscript," Michigan State University, Eli and Edythe Broad Art Museum, East Lansing, Michigan (cat.)
"Conceptual Poetics Day," Literaturwerkstatt, Berlin
"Original Pirate Material," Literaturwerkstatt, Berlin
"Artist’s book rules /// libri a regola d’artista," Palazzo Collicola Arti Visive, Spoleto
"Pastiche, parody and piracy," The Cob Gallery, London
"A morte do autor," Universidade Federal de Minas Gerais, Belo Horizonte
"Remake, le livre et la céramique en question," Musée de Mariemont, Morlanwelz
"Bibliologie," FRAC Haute-Normandie, Sotteville-lès-Rouen
2013
"My Gallery is the World Now: Books and Ideas after Seth Siegelaub," Center for Book Arts, New York (cat.)
"Conceptual Poetics Day," abc art berlin contemporary, Berlin
"Esthétique du livre d’artiste: Collections et inventaires," FRAC Provence-Alpes-Côte d’Azur, Marseille
"Mehr Als Schein / Shining Through / Αυτό που φαίνεται," Zone D/Zoumboulakis Gallery, Athens
"Postscript," Power Plant, Toronto (cat.)
"Un phénomène de Bibliothèque," Un phénomène de Bibliothèque, Paris
"LIMITED, MULTIPLE, UNIQUE," The Book Club of California, San Francisco (cat.)
"The Feverish Library (continued)," Capitain Petzel, Berlin
"BOOKS & CO," Gagosian, Paris (cat.)
2012
"Postscript," Museum of Contemporary Art, Denver (cat.)
"Splendid Isolation," Johan Deumens Gallery, Amsterdam
"Gazette Show," Mzin, Leipzig
"July, August, September 2012. Juillet, Août, Septembre 2012. Juli, August, September 2012," Berlin, Amsterdam, New York, London, Ciudad Juarez, El Paso, Charlotte et al. (cat.)
"Pre-Paradise Sorry Now / THE GREEK PAVILLON," Palais de Tokyo, Paris & OPEN MUSEUM / Hamburger Kunsthalle, Hamburg
"HELP/LESS," Printed Matter, Inc., New York
"Appropriation," essays and observations, Berlin
"BLANK BOOK MAKERS / Salon du Livre," Fondation Kugler, Geneva (cat.)
"Recent Acquisitions," Athenaeum, La Jolla, California
"January 5–31, 2012," Milchhofpavillon, Berlin (cat.)
"LIMITED, MULTIPLE, UNIQUE," Minnesota Center for Book Arts, Minneapolis, Minnesota & Museum of Printing History, Houston, Texas & Lafayette College, Easton, Pennsylvania
2011
"LIMITED, MULTIPLE, UNIQUE," Center for Book Arts, New York & Savannah College of Arts and Design, Atlanta (cat.)
"Vis à Vis," Rossi Contemporary Gallery, Brussels
"Convergence: Literary Art Exhibitions," Golden Thread Gallery, Belfast
"follow-ed (after hokusai)," Winchester Gallery (University of Southampton), Southampton & Gallery P74, Ljubljana & Arnolfini, Bristol (cat.)
"print cloud," Tryk Tryk Tryk, Copenhagen
"la photocopie," Cabinet du livre d’artiste, Université Rennes
2010
"Crosswords," Galerie Analix Forever, Geneva
"SeaFair 2010 – The Apparatus of Life and Death," Museum of Contemporary Art, Skopje (cat.)
"The Perverse Library," Laurence Sterne Museum, York
"Cabinet of Miracles," Zone D/Zoumboulakis Gallery, Athens (cat.)
"Ear to the Page," Center for Book Arts, New York (cat.)
"Non-Cochlear Sound," Diapason Gallery, New York
"Publication as Practice #10: Appropriation," X Marks the Bökship, London
"Newpaper Research and Reading Room," Milchhofpavillon, Berlin
"The Page," Kimmerich, New York
"FAX," Torrance Art Museum, California, Para/Site Art Space, Hong Kong & Burnaby Art Gallery, Burnaby, Canada & Museo Carrillo Gil, Mexico City (cat.)
2009
"Un coup de dés: poème, image of sculpture," Stichting Perdu, Amsterdam
"El Ahijado," Alterna y Corriente, Mexico City
"Learn to Read Art: A History of Printed Matter," Badischer Kunstverein, Karlsruhe & MOMA PS1, New York
"I Like The Truth, I Never Liked Fiction (and vice versa)," Rodeo Gallery, Istanbul
"FAX," Drawing Center, New York & Contemporary Museum, Baltimore, Maryland (cat.)
"Architectures of Survival," Outpost for Contemporary Art, Los Angeles & Komplot, Brussels
2008
"AFTER," galerie de multiples, Paris
"Beyond Kiosk," Cabinet des estampes, Geneva & Kunstbibliothek, Berlin (cat.)
"... America, ... America ...?," espai zero1, Olot (cat.)
"Working Drawings and Other Visible Things on Paper not Necessarily Meant to be Viewed," basso, Berlin (cat.)
"Old News 4," Museo Carrillo Gil, Mexico City & Midway Contemporary Art, Minneapolis, Minnesota (cat.)
"Freunde und Bekannte," Apartment Stefan Schuster & Sparwasser-HQ, Berlin
2007
"Crosswords," Galerie Analix Forever, Geneva
"Intercity Berlin Praha," Galerie Manes, Prague (cat.)
"See You in 2047," Public Space, Muenster
"Dictionary of War," Sophiensaele, Berlin (cat.)
"Artists’ Books: Transgression/Excess," Space Other, Boston & Bibliothekswohnung, Berlin
2006
"30 Years: Printed Matter, Editions 1976–2006," Printed Matter, Inc., New York
"OUVERTURE," Revolver, Frankfurt
"Alrededor de todos juntos, una entre tantas," ProjecteSD, Barcelona
2005
"Suppe, Schnittchen, Sekt," Revolver, Frankfurt
"un promesse de malheur," Galleria de Arte Mexicano, Mexico City
"Kiosk (XII–XIII) – Modes of Multiplication," Witte de With, Rotterdam & ICA, London
"Image Acts," Office Ops, New York
2004
"Art of the Biotech Era," Experimental Art Foundation, Adelaide (cat.)
"Späte Freuden der Disziplin," Ritterhof, Berlin
"Coded Cultures," Freiraum, Museumsquartier, Vienna
"Sculpture Grande 04," Wenceslas Square, Prague (cat.)
2003
"i like america and america likes itself," Broadway / Times Square, New York
"mehr licht!," Daad Arts Fellows at Goethe-Institute / InterNationes, New York
"schwarzwald united," Steuben Gallery, Brooklyn
2002
"SeaFair 2002 – Cultural Transformation, Consciousness and New Technologies," Museum of Contemporary Art, Skopje
"the term pratt artist is part of the problem," Steuben Gallery, Brooklyn
"Natürlich kann geschossen werden," Postfuhramt, Berlin
Book Fair Participations with Solo Booth
2022
"Athens Art Book Fair," Odeion, Athens
"New York Art Book Fair,"
"MISS READ: The Berlin Art Book Festival,"
"It's a book," HGB, Leipzig
2021
"It's a book," HGB, Leipzig
"PMVABF," Printed Matter, Inc., New York
2020
"Artist Self Publishers fair ASP 6," ICA, Virtual
2019
"FLAT," Lavazza, Torino
"Vienna Art Book Fair ," Academy of Applied Arts, Vienna
"Athens Art Book Fair," Stoa Kairi, Athens
"New York Art Book Fair," MOMA PS1, New York
"it´s a book," HGB, Leipzig
2018
"Artist Self Publishers Fair ASP 4," ICA, London
"mumok Art Book Day," mumok, Vienna
"New York Art Book Fair," MOMA PS1, New York
"MISS READ: The Berlin Art Book Festival 2018," Haus der Kulturen der Welt, Berlin
"it´s a book," HGB, Leipzig
2017
"New York Art Book Fair," MOMA PS1, New York
"Artist Self Puplishers´Fair 3," ICA, London
"MISS READ: The Berlin Art Book Festival," Haus der Kulturen der Welt, Berlin
"Poetry Market," Akademie der Künste, Berlin
"Arts Libris," Arts Santa Monica, Barcelona
"it´s a book," HGB, Leipzig
2016
"Artist Self-Publishers’ Fair ASP," ICA, London
"MISS READ: The Berlin Art Book Fair," Akademie der Künste, Berlin (cat.)
"#Riafeniz," Künstlerhaus / Halle für Kunst & Medien, Graz
"it´s a book," HGB, Leipzig
2015
"FOOKBAIR," Städelschule, Frankfurt
"New York Art Book Fair," MOMA PS1, New York (cat.)
"MISS READ: The Berlin Art Book Fair," Akademie der Künste, Berlin (cat.)
2014
"New York Art Book Fair," MOMA PS1, New York (cat.)
"THREE LETTER WORDS," Rochelle School, London
"Vancouver Art/Book Fair," Project Space, Vancouver
2013
"Salon Light Night," Gymnase des Pyrénées, Paris
"Miss Read," abc art berlin contemporary, Berlin (cat.)
"Independent Publishers and Zine Fair Vienna," Kunsthalle, Berlin
"Artists Prints," Komplot, Brussels
"Publish and Be Damned," ICA, London
"LA Art Book Fair," MOCA, Los Angeles (cat.)
2012
"MISS READ," abc art berlin contemporary, Berlin (cat.)
"Independent Publishers and Zine Fair Vienna," Kunsthalle, Berlin
"Vancouver Art/Book Fair," Project Space, Vancouver
"New York Art Book Fair," MOMA PS1, New York (cat.)
"Salon Light," Palais de Tokyo, Paris (cat.)
"Salon du Livre," Fondation Kugler, Geneva
2011
"New York Art Book Fair," MOMA PS1, New York (cat.)
"MISS READ," KW Institute of Contemporary Art, Berlin (cat.)
"The Book Affair," Metricubi, Venezia
"Art + Text," Overgaden, Copenhagen
2010
"New York Art Book Fair," MOMA PS1, New York (cat.)
"MISS READ," KW Institute of Contemporary Art, Berlin (cat.)
2009
"MISS READ," KW Institute of Contemporary Art, Berlin (cat.)
"New York Art Book Fair," MOMA PS1, New York (cat.)
"Publish and Be Damned 09," Oxford House, London
2008
"Salon Light," Point Ephémère, Paris
"New York Art Book Fair/FRIENDLY FIRE," Phillips de Pury, New York (cat.)
"One night stand/Berlin Biennial," KW Institute of Contemporary Art, Berlin
"Publish and Be Damned 08," Rochelle School, London (cat.)
2007
"Salon light," centre national de l’estampe et de l’art imprimé (cneai), Paris
"New York Art Book Fair/FRIENDLY FIRE," Dia Art Foundation, New York
"Publish and Be Damned 07," Rochelle School, London
Curated
2018
"Conceptual Poetics Day 2018," Haus der Kulturen der Welt, Berlin
"MISS READ: The Berlin Art Book Festival 2018," Haus der Kulturen der Welt, Berlin
2017
"Conceptual Poetics Day 2017," Haus der Kulturen der Welt, Berlin
"MISS READ: The Berlin Art Book Festival 2017," Haus der Kulturen der Welt, Berlin
2016
"Conceptual Poetics Day," Akademie der Künste, Berlin
"MISS READ: The Berlin Art Book Fair," Akademie der Künste, Berlin (cat.)
*with Yaiza Camps, Moritz Grünke and Akademie der Künste, Berlin
2015
"MISS READ: The Berlin Art Book Fair," Akademie der Künste, Berlin (cat.)
*with Yaiza Camps, Moritz Grünke, Kristen Mueller and Akademie der Künste, Berlin
"Conceptual Poetics Day," Akademie der Künste, Berlin
"Re: follow-ed (after hokusai)," Cabinet du livre d’artiste, Université Rennes (cat.)
*with Tom Sowden
2014
"Conceptual Poetics Day," Literaturwerkstatt, Berlin
2013
"My Gallery is the World Now: Books and Ideas after Seth Siegelaub," Center for Book Arts, New York (cat.)
"MISS READ: The Berlin Art Book Fair," abc art berlin contemporary, Berlin (cat.)
*with argobooks and KW Institute of Contemporary Art, Berlin
"Conceptual Poetics Day," abc art berlin contemporary, Berlin
2012
"July, August, September 2012. Juillet, Août, Septembre 2012. Juli, August, September 2012," catalogue exhibition
"MISS READ," abc art berlin contemporary, Berlin (cat.)
*with argobooks and KW Institute of Contemporary Art, Berlin
"January 5–31, 2012," catalogue exhibition
2011
"MISS READ," KW Institute of Contemporary Art, Berlin (cat.)
*with argobooks and KW Institute of Contemporary Art, Berlin
"Babypause," Milchhofpavillon, Berlin
"follow-ed (after hokusai)," Winchester Gallery (University of Southampton), Southampton & Gallery P74, Ljubljana & Arnolfini, Bristol (cat.)
*with Tom Sowden
2010
"MISS READ," KW Institute of Contemporary Art, Berlin (cat.)
*with argobooks and KW Institute of Contemporary Art, Berlin
"Newpaper Research and Reading Room," Milchhofpavillon, Berlin
*with Eleanor Brown
2009
"MISS READ," KW Institute of Contemporary Art, Berlin (cat.)
*with argobooks and KW Institute of Contemporary Art, Berlin
2008
"Working Drawings and Other Visible Things on Paper not Necessarily Meant to be Viewed," catalogue exhibition
2002
"Natürlich kann geschossen werden," Postfuhramt, Berlin
*with Marcus Wittmers
Collections
Ampersand Foundation, Johannesburg
Archive Artist Publications Hubert Kretschmer, Munich
Athenaeum, La Jolla, California
Celine Duva, Houlgate
centre national de l’estampe et de l’art imprimé (cneai), Paris
Centre Pompidou, Paris
Deutsche Nationalbibliothek, Leipzig / Frankfurt am Main
Emily Carr Institute, Vancouver
Eric Doeringer, Brooklyn
Escolas de Belas Artes, Minas Gerais, Belo Horizonte
FRAC Haute-Normandie, Sotteville-lès-Rouen
FRAC Provence-Alpes-Côte d’Azur, Marseille
Getty Research Institute, Los Angeles
Guggenheim Foundation, New York
Indiana University, Bloomington
Jacob Fabricius, Copenhagen
John M. Flaxman Library, School of the Art Institute of Chicago (SAIC), Boston
John Stezaker, London
Jon Hendricks, New York
MoMA Museum of Modern Art, New York
Musée de l’Elysée, Lausanne
Musées de la Ville de Genève (BAA), Geneva
National Gallery of Canada, Ottawa
New York Public Library, New York
Princeton University Library, Princeton
Research Centre for Artists’ Publications, Weserburg Bremen
Ruth and Marvin Sackner Archive of Concrete and Visual Poetry, Miami
Sammlung Paul Heimbach, Cologne
Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek, Berlin
Staatliches Museum, Schwerin
Städelschule, Frankfurt
Stanford University Libraries, California
Tate Gallery Library and Archive, London
The National Art Library, Victoria & Albert Museum, London
Thomas J. Watson Library, The Metropolitan Museum of Art, New York
University of Colorado, Boulder
Interviews
Andra Joeckle, Michalis Pichler, "Das Archiv der geschredderten Kataloge. Ein Angebot, sich durch eine symbolische, aber auch handfeste Geste von gedruckten Erzeugnissen zu distanzieren (2008)" Kultur & Gespenster Nr. 21 »Archive & Depots«, Hamburg: textem (2021).
Victoria Hindley, "Publishing as Artistic Practice: In Conversation With Michalis Pichler," Cambridge, Mass. The MIT Press Reader 8 (2019) online. PDF
Lynn Kühl, "10 Jahre Miss Read Ein Gespräch mit Michalis Pichler," Berlin: gallerytalk.net, , 2018 online. PDF
Sarah Moroz, "The Best of Berlin with Miss Read Director Michalis Pichler," blouinartinfo (2018).
Jérôme Dupeyrat, "Entreriens : perspectives contemporaines sur les publications d'artistes" Mise en page, d’après la maquette existante, du volume 5 de la collection « Grise » , (2017) online.
Jonathan Monk, Michalis Pichler, "Fotoserie als eine Art Selbstportrait: „Und die Kinder spielen dann mit“," Berlin: taz (2016), 43 online.
Christine Watty, "Meisterwerke zwischen Buchdeckeln: Michalis Pichler im Gespräch mit Christine Watty," Deutschlandfunk Kultur , 6, 2016 online. PDF
John Stezaker, "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.
Documentary / Film Features
Publications by Michalis Pichler
Michalis Pichler, POEM(S) (Athens: Agra Publishing, Berlin: ”greatest hits”, 2022).
Publishing Manifestos (Cambridge, Mass.: MIT Press, Berlin: MISS READ, 2022).
Michalis Pichler, Thirteen Years: The materialization of ideas / Trece años: la materialización de ideas , ed. Annette Gilbert and Clemens Krümmel (New York: Printed Matter, Inc., Leipzig: Spector Books, Mexico City: gato negro, Barcelona: Ediciones Originales, 2022).
Decolonizing Art Book Fairs: Publishing Practices from the South(s), ed. Pascale Obolo, Parfait Tabapsi, Yaiza Camps and Moritz Grünke (Berlin: MISS READ, Paris: Afrikadaa, Yaoundé: Mosaïques, 2021).
IDEA POLL (Berlin: MISS READ, 2021).
Michalis Pichler, 출판선언문 출판하기 (Seoul: mediabus, 2019).
Michalis Pichler, SOME MORE SONNET(S) (Berlin: ”greatest hits”, Mexico City: gato negro, 2019).
Publishing Manifestos (Cambridge, Mass.: MIT Press, Berlin: MISS READ, 2019).
Michalis Pichler, "greatest hits" POSTNAIVISM poster (Berlin: ”greatest hits”, 2019).
Michalis Pichler, The Work of Art in the Age of Its Digital Reproducibility #TwitterVersion (Berlin: ”greatest hits”, Mexico City: gato negro, 2019).
Michalis Pichler, GINZA HACCHO / EVERY BUILDING ON THE GINZA STRIP (Berlin: ”greatest hits”, Baden: Kodoji Press, 2018).
Publishing Manifestos (Beta Version) (Berlin: MISS READ, 2018).
Michalis Pichler, NEW YORK POST flag profile (Berlin: ”greatest hits”, Berlin: COLLAGE, 2017).
Michalis Pichler, Dichiarazioni sull’ Appropriazione / Statements on Appropriation (Berlin: ”greatest hits”, Milan: Kunstverein Milano, 2016).
Michalis Pichler, Une Seconde d'Éternité (Berlin: ”greatest hits”, Milan: Kunstverein Milano, 2016).
BOOKS AND IDEAS AFTER SETH SIEGELAUB (New York: The Center for Book Arts, Berlin: Sternberg Press, 2016).
Michalis Pichler, A TWO THREE FOUR FIVE (Berlin: Quick Magazine, 2015).
Michalis Pichler, The Ego and Its Own, English Edition of Der Einzige und sein Eigentum (Berlin: ”greatest hits”, Brooklyn: Ugly Duckling Presse, 2015).
Michalis Pichler, De enige en zijn eigendom, Dutch Edition of Der Einzige und sein Eigentum (Berlin: ”greatest hits”, Ghent: MER. Paper Kunsthalle, 2015).
Michalis Pichler, Den ende och hans egendom, Swedish Edition of Der Einzige und sein Eigentum (Berlin: ”greatest hits”, Stockholm: OEI Editör, 2015).
Michalis Pichler, ≠ CHARLES BAUDELAIRE. J'ai le mouvement qui déplace les lignes (Berlin: ”greatest hits”, 2014).
Michalis Pichler, 555 SCHNAPSPRESSE SONNETS, FOLDED, STAPLED AND SOLD IN CHUNKS OF 5 (Leipzig: Lubok Verlag, 2014).
Michalis Pichler, FLORIBUNDAROSEN (Leipzig: Lubok Verlag, 2014).
Michalis Pichler, 1111 RISOGRAPHED SONNETS, STAPLED, NUMBERED AND SOLD IN CHUNKS OF 11 (Paris: ed. Christophe Daviet-Thery, 2013).
Michalis Pichler, Boys! Männer! (Leipzig: Lubok Verlag, 2013).
Michalis Pichler, Brotfehler (Berlin: self-published, 2013).
July, August, September 2012 (Berlin: ”greatest hits”, 2012).
Michalis Pichler, January 5–31, 2012 (Berlin: ”greatest hits”, 2012).
Michalis Pichler, Statements on Appropriation / Statements zur Appropriation (Paris: La Bibliothèque Fantastique , 2011).
Michalis Pichler, Sentences on Conceptual XXX (Paris: La Bibliothèque Fantastique , 2011).
Michalis Pichler, SOME MORE SONNET(S) aka POEM(S) (Berlin: ”greatest hits”, 2011).
Michalis Pichler, SIX HANDS AND A CHEESE SANDWICH (Berlin: ”greatest hits”, Ljubljana: Zavod P.A.R.A.S.I.T.E., 2011).
Michalis Pichler, Monsanto Company Earnings Call Transcript (Berlin: ”greatest hits”, Skopje: Museum of Contemporary Art, 2010).
Michalis Pichler, The Ego and Its Own, Chinese Edition of Der Einzige und sein Eigentum (Berlin: ”greatest hits”, New York: Forever & Today, Inc., 2010).
Michalis Pichler, TWENTYSIX GASOLINE STATIONS (Berlin: ”greatest hits”, New York: Printed Matter, Inc., 2009).
Michalis Pichler, TWENTYSIX GASOLINE STATIONS (Berlin: self-published, 2009).
Michalis Pichler, Der Einzige und sein Eigentum / The Ego and Its Own (Berlin: ”greatest hits”, 2009).
Michalis Pichler, hearts (Frankfurt: Revolver, Contemporary Art Publishing, Athens: Agra Publishing, 2008).
Michalis Pichler, Un coup de dés jamais n‘abolira le hasard (SCULPTURE) (Berlin: ”greatest hits”, 2008).
Michalis Pichler, Red, White & Blue Box (New York: self-published, 2008).
Michalis Pichler, Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed (Chatou: CNEAI Centre National de l’Estampe et de l’Art Imprimé, Berlin: ”greatest hits”, 2008).
Michalis Pichler, SOME FALLEN UMBRELLAS AND SOMETHING ELSE (Marseille: UL(S), 2008).
Michalis Pichler, I am looking for a gallerist – But, my god, the heart is missing (Berlin: self-published , 2007).
Michalis Pichler, les dés sont pipés (Ackermann) (Berlin: self-published , 2007).
Michalis Pichler, les dés sont pipés (embedded journalism) (New York: self-published , 2007).
Michalis Pichler, pichler pichler (the beginning of the system of lies) (Berlin: self-published, 2007).
Michalis Pichler, SECHSUNDZWANZIG AUTOBAHN FLAGGEN (Frankfurt: Revolver, Contemporary Art Publishing, 2006).
Michalis Pichler, stars & stripes / new york garbage flag profile (Frankfurt: Revolver, Contemporary Art Publishing, 2005).
Michalis Pichler, “WAR“diary (Frankfurt: Revolver, Contemporary Art Publishing, 2005).
Michalis Pichler, New York Times Flag Profile (New York: self-published, 2003).
Contributions to Publications
Michalis Pichler, "Bibliophagia," in Identity is the Crisis, ed. Jack Henry Fisher (Chicago: Other Forms, 2021), 184-185 also in herri#7.
Michalis Pichler, "PAGE PIECES, ablata at alba," in Counter-Signals #4, Identity Is the Crisis, ed. Jack Henrie Fisher (Chicago: Other Forms, 2021).
Michalis Pichler, "Untitled," in Books are Bridges, ed. Claudia de la Torre (Berlin: blackbonebooks, 2021).
Michalis Pichler, "The Work of Art in the Age of Digital Reproducibility #Twitter Version - Das Kunstwerk im Zeitalter seiner digitalen Reproduzierbarkeit #TwitterVersion," CRUX DESPERATIONIS 13 (2021), 22-24.
Michalis Pichler, "pichler (pichler), series of guest-signed prints (here: Wolfgang Beltracchi)," in ABCOA (, 2021).
Michalis Pichler, "THE NEW ART OF READING BOOKS," in Carrión, Ulises, SONNET(S) (Brooklyn: Ugly Duckling Presse, 2020), 107-115.
Michalis Pichler, "BOOK_BOOK_OBJECT_CAKE_E_BOOK_ETC," in What is a Book?: 101 Responses, ed. Amaranth Borsuk (Victoria, TX: American Book Review, 2020), 4-26.
Michalis Pichler, "Against Alienation / Publishing Publishing Manifestos," in OEI, #86–87: Publiceringspraktiker, publiceringspoetiker / Publishing Practices, Publishing Poetics, ed. Jonas (J) Magnusson and Cecilia Grönberg (Stockholm: OEI Magazine, 2020), 85-91.
Michalis Pichler, "Das Kunstwerk im Zeitalter seiner digitalen Reproduzierbarkeit / The Work of Art in the Age of Digital Reproducibility," in Convolution No. 5-7, ed. Paul Stephens (New York: Convolution Journal, 2019), 69-82.
Michalis Pichler, "Publishing Publishing Manifestos," in Publishing Manifestos (Cambridge, Mass.: MIT Press, Berlin: MISS READ, 2019), 12-19.
Michalis Pichler, "Migration #31," CRUX DESPERATIONIS 11 (2018), 31.
Michalis Pichler, "(design)," in Kawabe, Misaki, Fukushima mon amour (Berlin: Revolver Publishing, 2018).
Michalis Pichler, "PAGE PIECES," in Publishing Manifestos (Berlin: MISS READ, 2018), 233.
Michalis Pichler, "SOBRE. Prácticas artísticas y políticas de la edición," Universidad de Granada 3 (2017), 125-147.
Michalis Pichler, "Statements on Appropriation," in LOREM IPSUM DOLOR SIT AMET, ed. Thalmair Franz (Berlin: Revolver Publishing, 2016).
Michalis Pichler, "Book Swapping & Seriosity Dummies from Fragments: Life and Opinions of a Real Existing Artist," in Publishing as Artistic Practice, ed. Annette Gilbert (London: Sternberg Press Ltd, 2016), 206-209.
Michalis Pichler, "DECLARAÇÕES SOBRE APROPRIAÇÃO," in ¿Hay en Portugués? número 7, ed. Regina Melim (, 2016).
Michalis Pichler, "Clouds & Sky # 7/8," in OPCION, , MONOS/UИD (Graz: GOD Records, 2015), Cover, Back Cover.
Michalis Pichler, "SEVEN ADVERTISED SONNETS," The Blue Notebook (2015); CRUX DESPERATIONIS 7 (2015); OEI Magazine (2014); Metropolis M (2013).
"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,’," in Reprint. Appropriation (&) Literature, ed. Annette Gilbert (Wiesbaden: luxbooks, 2014), 533–539.
Michalis Pichler, "Sentences on Conceptual Reading," CRUX DESPERATIONIS 5 (2014), n.p.
"Déclarations sur l'appropriation / Statements on Appropriation / Statements zur Appropriation," Marges: Remake, Reprise, Répétition 17 (2013), 129–151. PDF
Michalis Pichler, "all the words," CRUX DESPERATIONIS (2013), n.p.
"Untitled (Cowboy)," Car Park Magazine (2013), back cover and inside back cover.
"SOME TRIPLE BOOKS AND LEATHERJACKETS," in Slide Shows, ed. Charlotte Cheetham (Vancouver: Fillip’s Print Centre, 2012).
"Obviously, a drawing of a person is not a real person, but a drawing of a word is a real word," CRUX DESPERATIONIS 3 (2012), n.p.
"Statements zur Appropriation," , ed. Annette Gilbert (Bielefeld: transcript, 2012), 27–30.
"DIAL NOW IF IN VERSE," CRUX DESPERATIONIS 2 (2012), n.p.
"Untitled (Cowboy)” and “Untitled (Elgin Marbles)," Car Park Magazine 3 (2011), back cover, inside back cover and 61–72.
"Untitled (Poem)," CRUX DESPERATIONIS 1 (2011), n.p.
"Appropriation," in Print Matters, ed. Linda Newington et al. (London: University of Southhampton and Tate Library, 2011), 43–47.
Michalis Pichler, "This is a portrait of Brad Downey if I say so / This is a portrait of Brad Downey if you say so," in Downey, Brad, The Vanity Project (Paris: Onestar Press, 2011).
"Hentai," in Kawabe, Misaki, Nostalgic Hentai (Berlin: Revolver Publishing, 2010).
"Statements on Appropriation / Statements zur Appropriation," Betonblumen (2010), 13–15.
"REAL OPPORTUNITIES," in Miss Read (Berlin: KW Institute for Contemporary Art, 2010), poster and cover.
"Statements on Appropriation / Statements zur Appropriation," Fillip 11 (2010), 44–47.
Michalis Pichler, "Statements on Appropriation," New York: UbuWeb (2009) online English Portugues. PDF PDF
"FAXED SONNET" and "SOME MORE SONNET(S), FAXED," in FAX, ed. Joao Ribas (New York: The Drawing Center and Independent Curators International, 2009), 122, 123–125.
"TWENTYSIX STATIONS," in Miss Read (Berlin: KW Institute for Contemporary Art, 2009), poster.
"Pfau liebt Zapfsäule," "Frosch im Salat – Frau in Panik" and "Bissiger Pitbull-Besitzer" (from the series Das private und öffentliche Leben der Tiere), basso magazine 6 (2008), 22, 40, 50.
"Untitled (Poem)," "The New York Times flag profile (index)," "NEW YORK POST flag profile (index)" and "Village Voice flag profile (index)," The Newpaper 2 (2008), cover, inside cover, 10–13.
"The girls of page 3 and 4” and “Dead Man Walking," The Newpaper 1 (2007), 3–4, 29–32.
"Untitled (Animals)," Old News 4 (2007), 15–18.
Michalis Pichler, "TOP GUN," basso magazine 5 (2007), centerfold.
"April 14 2003 (3:03am), basement #18, Pratt Institute, Brooklyn," in Weinberger, Eliot, ΤΟ ΤΙ ΑΚΟΥΣΑ ΓΙΑ ΤΟ ΙΡΑΚ (What I heard about Irak) (Athens: Agra Publishing, 2006), cover.
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
- "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
Group Catalogues / Anthologies
Oscar Fernández López, NO SE ESCRIBE, LUMINOSAMENTE, SOBRE UN CAMPO OSCURO, ed. Centro José Guerrero (Granada: Centro José Guerrero, 2018) online.
Reprint. Appropriation (&) Literature, ed. Annette Gilbert (Wiesbaden: luxbooks, 2014), 373–376, 426–429, 517–519, 533–539.
Books and Ideas after Seth Siegelaub (New York: The Center for Book Arts, 2014).
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.
The Dark Would. Language Art Anthology, ed. Philip Davenport (Manchester: Apple Pie Editions, 2013).
Blank Book Makers, ed. Izet Sheshivari (Geneva: Boabooks, 2012), 128–131.
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), 103.
Print Matters, ed. Linda Newington et al. (Winchester: University of Southampton, London: Tate Library, 2011), 36–41, 43–47.
The Piracy Collection (London: Central Saint Martins School of Art and Design, AND Publishing, 2011), entries 6, 32, 40, 46, 95.
Miss Read (Berlin: KW Institute for Contemporary Art, 2011), n.p.
Ear to the Page, ed. Alan Licht and James Hoff (New York: The Center for Book Arts, 2010).
Cabinet of Miracles, ed. Polyna Kosmadaki and Christopher Marinos (Athens: Zone D, 2010), 114–115.
Miss Read (Berlin: KW Institute for Contemporary Art, 2010), 27.
FAX, ed. Joao Ribas (New York: The Drawing Center and Independent Curators International, 2009), 122–125.
Miss Read (Berlin: KW Institute for Contemporary Art, 2009), 15.
ESPACE SURPLUS, ed. Bettina Springer (Berlin: Espace Surplus, 2009), 30–31.
Publish and Be Damned (London: Four Corner Books, 2008).
I like America, Does America Like Me?, ed. Zurisaday Viera Muñoz and Pere Cañada Vila (Olot: espai zero, 2008), 67–76.
Art in the Biotech Era, ed. Melentie Pandilovski (Adelaide: Experimental Art Foundation, 2008), 52–58, 173, 216–217.
Essays, Articles and Reviews
Annette Gilbert, "Sonetos Prestados" trans. Rachel Robinson, Tenso Diagonal no. 12 (2021), 67-81. PDF
Michalis Pichler, "Publicación De Manifiestos De publicación" trans. Rachel Robinson, Tenso Diagonal no. 12 (2021), 212-35. PDF
Natalia Silberleib, "Michalis Pichler Y Los Otros" Reseña sobre: Pichler, Michalis. Trece años, la materialización de ideas de 2002 a 2015. , in Tenso Diagonal, no. 12, Dec. 2021 (Tenso Diagonal, 2021), 306-11. PDF
Barbara Bourchenin, "Livres de l’art actuel : imaginaires paradoxaux de la fin du livre," (2021).
Rob van Leijsen, "Copy, Tweak, Paste – Methods of appropriation in re-enacted artists' books" An essay on the modes of re-enactments, appropriation or reinterpretations of artists' books, Éditions clinamen (2020).
Robert Bolick, "Books On Books Collection – Michalis Pichler," (2020) online.
Megan N. Liberty, "Ulises Carrión's Sonnet(s)," Brooklyn: The Brooklyn Rail (2020).
Annette Gilbert, "BORROWED SONNETS," in Ulises Carrión, SONNET(S) (Brooklyn: Ugly Duckling Presse, 2020), 85-106.
Cecilia Grönberg, Jonas (J) Magnusson, "REDAKTIONELLT OEI #86-87, Publiceringspraktiker, publiceringspoetiker," in OEI, #86–87: Publiceringspraktiker, publiceringspoetiker / Publishing Practices, Publishing Poetics (Stockholm: OEI Magazine, 2020), 1-8.
Jean-Nicolas Illouz, "Noli me legere: Stéphane Mallarmé, Marcel Broodthaers, Michalis Pichler, Un coup de dés jamais n’abolira le hasard," in Poésie, ed. Éditeur : Belin (, 2020), 211 - 222.
Tom Sowden, "Exploring Appropriation as a Creative Practice," MDPI Arts / Issue 8 / Volume 4 (2019) online.
Marc Feustel, "The Ginza Strip fait par Michalis Pichler (Kodoji Press) revisité ," Paris: The Eyes #10 (2019).
Fite-Wassilak Chris, "Publishing Manifestos review," London: Art Review Apr2019, Vol. 71 Issue 3 (2019), 100.
Brooke Sylvia Palmieri, "Michalis Pichler, Editor. Publishing Manifestos," Northhampton, MA: Printing History, , 2019 online excerpt.
Megan N. Liberty, "Michalis Pichler's Publishing Manifestos," Brooklyn: The Brooklyn Rail Dec2018/Jan2019 (2018) online.
Barbara Bourchenin, "Du texte à la texture chez Marcel Broodthaers, Michalis Pichler et Jérémie Bennequin. Une relecture de Stéphane Mallarmé à l’ère du glitch / From text to texture in Marcel Broodthaers, Michalis Pichler, and Jérémie Bennequin. A rereading of Stéphane Malla," in Études Stéphane Mallarmé (Paris: ÉDITIONS CLASSIQUES GARNIER, 2018), 23-45.
Charisma Christal, "Sculpture : un coup de dés jamais n'abolira le hasard by Michalis Pichler," Vancouver: Emily Carr University of Art & Design, , 2018 online.
Alice Dundon, "10 Things to Know About Berlin's Art Book Festival," culture trip 8 (2018).
Antonella Sbrilli, "Alfagiochi / Miss Read," Milan: alfabeta2, , 2018 online.
Harriet Shepherd, "Discover the Most Eye-Catching Covers at Miss Read 2018," Berlin: Sleek, , 2018 online.
Lilian Froger, "review: Books and Ideas After Seth Siegelaub," Rennes: Critique d’art (2016) online.
Mendes Biondo, "L’EGO E SÉ STESSO – UN RAFFINATO DIALOGO TRA PICHLER E STIRNER," (2016) online.
Lynn Malyszewski, "Michalis Pichler The Ego and Its Own, caa.reviews," New York: College Art Association (2015) online.
Jean-Claude Moineau, "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).
Magnus Wieland, "Literarische Aneignungen / Kongeniale Kopisten," Zurich: Neue Züricher Zeitung (2015) online.
Widukind DeRidder, "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.
Craig Dworkin, "Hur ohyggligt lite har icke blivit kvar för oss," in Michalis Pichler, Den ende och hans egendom (Stockholm: OEI Editör, 2015), inside slipcover.
Annette Gilbert, "Reradikaliserade kritiska sammanfattningar," in Michalis Pichler, Den ende och hans egendom (Stockholm: OEI Editör, 2015), inside slipcover.
Patrick Greaney, "The Universal Library of Appropriation," in Michalis Pichler, The Ego and Its Own (Brooklyn: Ugly Duckling Presse, 2015), backcover and inside slipcover.
Craig Dworkin, "Zo armzalig weinig is ons overgebleven," in Michalis Pichler, De enige en zijn eigendom (Ghent: MER. Paper Kunsthalle, 2015), inside slipcover.
Annette Gilbert, "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.
Richard Kostelanetz, "Review – Michalis Pichler’s Some More Sonnet(s)," Blog artzines.de, September 7, 2013 online.
Stéphane Reboul, "Déclaration sur l’appropriation et autres axes de travail de Michalis Pichler," Marges: Remake, Reprise, Répétition 17 (2013), 126–128.
Stéphane Reboul, "Typologie pragmatique de la reprise des livres d’artiste d’Ed Ruscha," Marges: Remake, Reprise, Répétition 17 (2013), 21–43. PDF
Raphael Rubinstein, "Ulises Carrión / April 5 2013," The Silo (2013), 36–42.
Phil Taylor, "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.
Susanne Gramatzki, "»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.
Annette Gilbert, "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
Fred Hüning, "SOME FLAT FROGS I - PLATTE FRÖSCHE UND ED RUSCHA," (2012) online.
Jens Kassner, "Alles ausradiert, außer ich," Jens Kassner. Ein Leipzig-Blog, March 29, 2012 online.
Leonce W. Lupette, "Edition. Distribution. Programm. Appropriation und Verlage," in Wiederaufgelegt. Zur Appropriation von Texten und Büchern in Büchern, ed. Annette Gilbert (Bielefeld: transcript, 2012), 217–230.
Nora Ramtke, "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.
Johan Velter, "max stirner michalis pichler," SFCDT, March 13, 2012 online.
Johan Velter, "wat rollen blijft," SFCDT, March 15, 2012 online.
Magnus Wieland, "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.
Riccardo Boglione, "Riscrivendo l’illeggibile: quarto cancellature del Coup de Dés," (Genova: Ocra Press, 2011), 29-32.
Victoria Dejaco, "Stéphane Mallarmés Raumkonzept in zeitgenössischen Positionen," (Diploma Thesis, Universität Wien, 2011).
Brad Freeman, "Books Received," Journal of Artists’ Books 29 (2011).
Maja Megla, "Prelistajme in obesi!," DELO NEWSPAPER, March 10, 2011, 15.
Tom Sowden, "Follow-Ed (After Hokusai)," in Print Matters, ed. Linda Newington et al. (London: University of Southhampton and Tate Library, 2011), 36–41.
Zora Žbontar, "1005 besed s Prušnikove 74," Radio Student FM89.3, March 16, 2011 online.
Tobias Amslinger, "Nur Ich und nichts als Ich," Wespennest, Zeitschrift für brauchbare Texte und Bilder 161 (2011), 104.
Johanna Drucker, "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.
Juliane Breternitz, "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.
Andrej Holm, "Berlin: Kunst gegen Gentrification?," Gentrification Blog, June 29, 2010 online.
Tom Sowden, "Ruscha Rip-Off Rip-Out," Afterimage 37 (2010), 19–22.
Eric Zboya, "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).
AA Bronson, "Nine Books I Like," The Journal – Contemporary Culture 28 (2010), 176–179.
Widukind DeRidder, "Besprechungen: Der Einzige und sein Eigentum," Das Argument 289 (2010), 922-923.
Sam Cate-Gumpert, "The Anxiety of Influence," mono.blog by mono.kultur magazine, December 28, 2009 online.
Craig Dworkin, "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.
Craig Dworkin, "Wie bettelhaft wenig ist uns verblieben, Epilogue," in Michalis Pichler, Der Einzige und sein Eigentum (Berlin: ”greatest hits”, 2009).
Annette Gilbert, "Nachwort / Afterword," in Michalis Pichler, Der Einzige und sein Eigentum (Berlin: ”greatest hits”, 2009), 423–456.
Savannah Gorton, "Front page sensationalism and patriotism for the sake of consumerism," The Newpaper 2 (2008), 27.
Arthur Karfas, "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.
Melentie Pandilovski, "Introduction," in Art in the Biotech Era (Adelaide: Experimental Art Foundation, 2008), 1-5.
Yann Sérandour, "Serial Killers. Fortune et infortunes des livres d’Edward Ruscha," Nouvelle Revue d’Esthetique 2 (2008), 51–56.
Pere Cañada Vila, Zurisaday Viera Muñoz, "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.
Gerhard Kock, "Kunst-Piraten überfallen Münster," Westfälische Nachrichten, September 19, 2007.
Michele Robecchi, "New York Stories," The Newpaper 1 (2007), 2.
Bettina Jochheim, "Kraftvolle Tiere und ein Haufen Müll," Kölner Stadt-Anzeiger, January 31, 2004, 45.
Hanna Styrie, "Das wird ja immer schlimmer," Kölnische Rundschau, January 31, 2004.
Martin Morcinek, "Kunst und Kunden - Zensur im New Yorker Goethe-Institut?," Amerikawoche, June 9, 2003, 11.
Alexandra Ringendahl, "Der Metzger denkt an Austritt," Kölner Stadt-Anzeiger, February 1, 2002, 13.