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1.    Conceptual writers 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 writing is essentially rational.
5.    Irrational thoughts should be followed absolutely and logically.
6.    If the writer changes his/her mind midway through the execution of the piece he/she compromises the result and repeats past results.
7.    The writer'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 drama and prose are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the writer who would be reluctant to make writing 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 writing; 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 writing that becomes physical there are many variations that do not.
13.    A work of writing may be understood as a conductor from the writer's mind to the reader's. But it may never reach the reader, or it may never leave the writer's mind.
14.    The words of one writer to another may induce an idea chain, if they share the same concept.
15.    Since no form is intrinsically superior to another, the writer may use any form, from an expression of words (written or spoken) 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 writing if they are concerned with writing and fall within the conventions of writing.
18.    One usually understands the writing of the past by applying the convention of the present, thus misunderstanding the writing of the past.
19.    The conventions of writing are altered by works of writing.
20.    Successful writing changes our understanding of the conventions by altering our perceptions.
21.    Perception of ideas leads to new ideas.
22.    The writer cannot imagine his/her writing, and cannot perceive it until it is complete.
23.    The writer may misperceive (understand it differently from the writer) a work of writing but still be set off in his/her own chain of thought by that misconstrual.
24.    Perception is subjective.
25.    The writer may not necessarily understand his/her own writing. His/Her perception is neither better nor worse than that of others.
26.    A writer may perceive the writing of others better than his/her own.
27.    The concept of a work of writing 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 writer's mind and the final form is decided, the process is carried out blindly. There are many side effects that the writer 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 writing. The most important are the most obvious.
31.    If a writer uses the same form in a group of works, and changes the material, one would assume the writer'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 writer learns his/her craft too well he/she makes slick writing.
35.    These sentences comment on writing, but are (not) writing.

Michalis Pichler

AMP WORKS & Dynasty Zine cordially invite you to FITS FOR PRINTS, a pop-up store at AMP in Athens, Greece, which will feature printed matter, multiples, books, magazines and zines produced by artists as well as internationally renowned publishers.

Most of this stuff is distributed in Greece by OMMU distribution, who run a permanent bookshop in Athens.

MISS READ

international publishers and artist/authors show their Artist Books.

KW Institute for Contemporary Art
Auguststrasse 69 D-10117 Berlin

September 4 to 6, 2009

Opening: Friday, 04.09.2009, 3 – 7 pm
Saturday, 05.09. + Sunday, 06.09.2009, noon – 7 pm

UN COUP DE DÉS JAMAIS N‘ABOLIRA LE HASARD (sculpture)

Un Coup de Dés Jamais N'Abolira Le Hasard (A Throw of the Dice will Never Abolish Chance) is a book by Michalis Pichler published 2008/09 in Berlin. The work 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*.

El Ahijado

Alterna y Corriente, Mexico City

August 7 2009

Paola de Anda
Amanda Gutiérrez
Begoña Morales

Tania Candiani
Enrique Ježik
Ivan Edeza

Edgar Orlaineta
Michalis Pichler
Misaki Kawabe

Ichiro Irie
Marissa Magdalena
Elyse Reardon-Jung

Andrés Basurto
Laura Ortiz
Abraham Jiménez

Nathalie Regard
Erika Harrsch
Jonathan Scott

Sometimes thou seem’st not as thyself alone,
But as the meaning of all things that are;
A breathless wonder, shadowing forth afar
Some heavenly solstice hushed and halcyon;
Whose unstirred lips are musics visible tone;
Whose eyes the sun-gate of the soul unbar,
Being of its furthest fires oracular;-
The evident heart of all life sown and mown.
Even such Love is; and is not thy name Love?
Yea, by thy hand the Love-god rends apart
All gathering clouds of Night’s ambiguous art;
Flings them far down, and sets thine eyes above;

LEARN TO READ ART

3 July - 6 September 2009, Badischer Kunstverein
Opening: Thursday, 2 July 2009. 7 p.m.

Curated by AA Bronson

press release:

Learn to Read Art: A History of Printed Matter features a selection of artists’ books and editions from the history of the independent, non-profit organization Printed Matter in New York. The exhibition was curated by AA Bronson and is the first presentation outside of the USA and Canada. We are extremely pleased that AA Bronson will be present at the opening and that he will introduce his selection for the Badischer Kunstverein!

Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed

The title is a paraphrase of Mel Bochners landmark project from 1966 as organized with the SVA. The last two words "As Art" have been omitted from the title.

The publication has 194 pages, was photocopied in an edition of 600 on the photocopiers of the cneai, Chatou (mostly on a Toshiba e-studio 210c, but also a konica 2223 and a Toshiba e-studio 120), handsorted, and bound in a Parisian copyshop.

First book launch: May 2nd 2008, from 8-11pm at basso, Koepenicker Strasse 187-188, Berlin 10997.

contributions:

Old News 4

April 5th - May 24th 2008, MIDWAY CONTEMPORARY ART, 527 SECOND AVENUE SOUTHEAST, MINNEAPOLIS, MINNESOTA 55414
Opening Reception:Saturday, April 5th 7-9 PM
Curatorial Presentation by Jacob Fabricius, Thursday, April 3rd 7PM

John Stezaker, Stolen Sky, 1976

Rodeo Gallery, Istanbul

May 30 – July 11, 2009

Opening: Friday, May 29 // 19:00 – 21:00

Banu Cennetoglu
Documentation Céline Duval
Michalis Pichler
Walid Raad/ The Atlas Group
Helke Sander
John Stezaker
Eva Weinmayr

press release by Sylvia Kouvalis (Rodeo Gallery)

This exhibition has been worked out in a structured manner. Michalis Pichler and Eva Weinmayr were invited to invite two artists that work on the same line with them.

FAX

FAX invites a multigenerational group of artists, as well as architects, designers, scientists and filmmakers, to conceive of the fax machine as a tool for thinking and drawing. Although the technology for transmitting printed images and texts over distance dates from the nineteenth century—a machine by Scottish mechanic Alexander Bain patented in 1843—it was the introduction of the modern fax through commercially available machines in the 1970s that turned facsimiles into a ubiquitous communications medium for international business.