„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”.

Main Gallery
1008 Wall Street, La Jolla, CA 92037
 Recent Acquisitions
On view February 18-March 24, 2012
Opening Reception, Friday, February 17, 6:30 - 8:30 PM

Free Admission


No problem = No problème: Albert Oehlen, Martin Kippenberger
Definitions, David Antin
Being Antinova, Eleanor Antin
Eleanora Antinova plays, Eleanor Antin
Brutus killed Caesar, John Baldessari
Fable, John Baldessari
Throwing three balls in the air to get a straight line, John Baldessari

Fiona Banner Jean-Daniel Berclaz Oliver Breitenstein Franz Burkhardt Geoffrey de

Rossicontemporary, Brussels, 3.12.11 - 21.01.12
Opening Saturday 3 December, 3-7 PM

miss read 2011

25. – 27.11.2011
Opening Party in Café Bravo: Friday, 25.11.2011, 6–12 pm

Opening hours
Friday, 25.11.2011, 3–9 pm
Saturday, 26.11.2011, 3–9 pm
Sunday, 27.11.2011, 12–7 pm

1.    Conceptual readers are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2.    Rational judgements repeat rational judgements.
3.    Irrational judgements lead to new experience.
4.    Formal reading is essentially rational.
5.    Irrational thoughts should be followed absolutely and logically.
6.    If the reader changes his/her mind midway through the execution of the piece he/she compromises the result and repeats past results.
7.    The reader's will is secondary to the process he/she initiates from idea to completion. His/Her wilfulness may only be ego.
8.    When words such as decoding and comprehension are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the reader who would be reluctant to make reading that goes beyond the limitations.
9.    The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
10.    Ideas can be works of reading; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
11.    Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.
12.    For each work of reading that becomes physical there are many variations that do not.
13.    A work of reading may be understood as a conductor from the reader's mind to the writer's. But it may never reach the writer, or it may never leave the reader's mind.
14.    The words of one reader to another may induce an idea chain, if they share the same concept.
15.    Since no form is intrinsically superior to another, the reader may use any form, from an expression of words (read or heard) to physical reality, equally.
16.    If images are used, and they proceed from ideas about literature, then they are literature and (not) art; numbers are (not) mathematics.
17.    All ideas are reading if they are concerned with reading and fall within the conventions of reading.
18.    One usually understands the reading of the past by applying the convention of the present, thus misunderstanding the reading of the past.
19.    The conventions of reading are altered by works of reading.
20.    Successful reading changes our understanding of the conventions by altering our perceptions.
21.    Perception of ideas leads to new ideas.
22.    The reader cannot imagine his/her reading, and cannot perceive it until it is complete.
23.    The reader may misperceive (understand it differently from the reader) a work of reading but still be set off in his/her own chain of thought by that misconstrual.
24.    Perception is subjective.
25.    The reader may not necessarily understand his/her own reading. His/Her perception is neither better nor worse than that of others.
26.    A reader may perceive the reading of others better than his/her own.
27.    The concept of a work of reading may involve the matter of the piece or the process in which it is made.
28.    Once the idea of the piece is established in the reader's mind and the final form is decided, the process is carried out blindly. There are many side effects that the reader cannot imagine. These may be used as ideas for new works.
29.    The process is mechanical and should not be tampered with. It should run its course.
30.    There are many elements involved in a work of reading. The most important are the most obvious.
31.    If a reader uses the same form in a group of works, and changes the material, one would assume the reader's concept involved the material.
32.    Banal ideas cannot be rescued by beautiful execution.
33.    It is difficult to bungle a good idea.
34.    When a reader learns his/her craft too well he/she makes slick reading.
35.    These sentences comment on reading, but are (not) reading.

Michalis Pichler


(ed.) Brad Downey

140 x 225 mm
150 pages
Cover : Paperback, color, glossy finish
Binding : glue bound
Interior : black-and-white
Edition of 250 books

Brad Downey invited people to create portraits of himself . These he has collected for this book, and they come from a wide spectrum of art practitioners, including sculptors, painters, authors, filmmakers, curators, graffiti artists and musicians.

Editeurs / Publishers

Archive Books, Berlin/Turin, DE/IT
Argobooks, Berlin,DE
Art & fiction, Lausanne, CH
APE (Art Paper Edition), Ghent, BE
bat éditions, Paris/Bruxelles, FR
Bedford Press, Londres, UK
Boabooks, Genève, CH
cneai = , Chatou, FR
documentation céline duval, Houlgate, FR
Editions cent pages, Grenoble, FR
Editions KEYMOUSE, Bruxelles, BE
Eva Weinmayr/AND Publishing, Londres, UK
Jan van Eyck Academie, Maastricht, NL
Kaleidoscope, Milan, IT
Kodoji Press, Baden, CH
Lubok Verlag, Leipzig, DE
MER. Paper Kunsthalle, Bruxelles, BE
Michalis Pichler, Berlin, DE
MOREpublishers, Bruxelles, BE
Nieves, Zürich, CH
Onomatopee, Eindhoven, NL
Spector Books, Leipzig, DE
Torpedo Press, Oslo, NO
Westphalie Verlag, Vienne, AT
1/2, Amsterdam/Berlin/Paris/Vienne, NL, DE, AT



, September 30-October 2, preview September 29

come along, bring friends to the  Friendly Fire section, Table FF11, outside in the yard


Twentysix Gasoline Stations book launch in the lobby, October 1, Saturday 5pm

Printed Matter is pleased to announce that Michalis Pichler’s book TWENTYSIX GASOLINE STATIONS, originally published in 2009 by Printed Matter, Inc., is printed in the second edition and available for order.  Pichler will sign copies of the book Saturday, October 1, 5 PM, in the lobby of MoMA PS1.

This book is Michalis Pichler's take on Ed Ruscha, who published his groundbreaking and highly influential TWENTYSIX GASOLINE STATIONS in 1963. Pichler's version offers a more modern update, examining German gas stations all owned by the same company and all displaying the same signage and architectural elements. At first glance, all images appear to depict the same pristine and brightly-colored generic structure, photographed frontally in a somewhat topographic style, reminding the Becher typologies.

Only upon further examination, aided by Pichler's captions declaring the different locations, does the reader get the full extent of the joke, which is punctuated by the book's final image: a disembodied hand holding an excerpt from a 1969 interview with Ruscha in which he explains "the eccentric stations were the first ones I threw out." The captions to this last Text/Image seem to be a riff on Gertrude Stein.

Hört auf zu malen, from the "greatest hits" series

Obviously, the painting of a person is not a real person,
but the painting of a sentence is a real sentence.

car park magazine # 3, London 2011: Untitled (cowboy), Michalis Pichler

car park is a publication of fashion, culture and ideas released three times a year in London

among other things it features untitled (cowboy) on the backcover (see above)

and untitled (elgin) inside (10pp. flow), click here to view



 the journal # 28 featured AA Bronson with  NINE BOOKS I LIKE