Text
Text by
Michalis Pichler, "Bibliophagia," in Identity is the Crisis, ed. Jack Henry Fisher (Chicago: Other Forms, 2021), 184-185 also in herri#7.
Michalis Pichler, "THE NEW ART OF READING BOOKS," in Ulises Carrión, 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, "Publishing Publishing Manifestos," in Publishing Manifestos (Cambridge, Mass.: MIT Press, Berlin: MISS READ, 2019), 12-19.
Michalis Pichler, "The Work of Art in the Age of Digital Reproducibility," in Publishing Manifestos (Cambridge, Mass.: MIT Press, Berlin: MISS READ, 2019), 268-275.
Michalis Pichler, "The Work of Art in the Age of Digital Reproducibility #Twitter Version," (2018) English German.
Michalis Pichler, "PAGE PIECES," in Publishing Manifestos (Berlin: MISS READ, 2018), 233.
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. PDF
Michalis Pichler, "Sentences on Conceptual Reading," CRUX DESPERATIONIS 5 (2014), n.p.
Michalis Pichler, "Appropriation," New York: Printed Matter, Inc. (2009) online.
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.
Monograph
Michalis Pichler, Thirteen Years: The materialization of ideas / Trece años: la materialización de ideas , ed. Annette Gilbert, Clemens Krümmel (New York: Printed Matter, Inc., Leipzig: Spector Books, Mexico City: gato negro, Barcelona: Ediciones Originales, 2022).
Thirteen Years: The materialization of ideas from 2002 to 2015, ed. Annette Gilbert, 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
Essays, Articles and Reviews
Birgit Rieger, "Publizieren als Kunst und Aktivismus: eine Kunstbuchmesse im Haus der Kulturen der Welt bringt unabhängige Verlage aus 50 Ländern zusammen.," (Berlin: Tagesspiegel, 2023) online. PDF
Annette Gilbert, "Sonetos Prestados" trans. Rachel Robinson, Tenso Diagonal no. 12 (2021), 67-81. 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).
Madeleine Morley, "A New Collection of Manifestos from Print Publishers Deftly Defend a “Form Under Attack”," [node:field-loc]: AIGA: Eye On Design (2018) online.
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, 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, 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, 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, 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.