Andrea Pichl seeks variation in the modular construction methods used in modernist housing projects and uncovers the social visions associated with its architectural design. Through means of sculpture, photography, drawing and stage design, Pichl places emphasis on the translation of the modern project’s aspirations across different political and economic systems. With a focus on documenting the prefabricated housing during the GDR era, Pichl studies have also extended to London, Paris, Berlin, Dublin, and Tashkent—her archive of photographic images a work in its own right.
When exhibiting her findings, Pichl most often constructs a system of display on which she projects images alongside drawings that shift modular expectations and offer a series of viewpoints converging on the gaps between representation and experience. The installation comes together as a staging for the discrepancies between image and memory, ideological visions and spatial configurations dependent on the realities of economic incentives. Acknowledging the irreconcilable mismatch between an ideal and its realization, Pichl’s sculptural works and drawings occupy the critical spaces between the abstract and the concrete.
Exhibitions
in dialogue with ZOE LEONARD
DELIRIOUS DINGE
ES KANN IMMER AUCH GANZ ANDERS SEIN
AUSSCHLIESSLICH ODER
Keine Atempause, Geschichte wird gemachtKunstverein am Rosa-Luxemburg-Platz, Berlin 2017 ©laurianghinitoiu
Keine Atempause, Geschichte wird gemachtKunstverein am Rosa-Luxemburg-Platz, Berlin 2017 ©laurianghinitoiu
Keine Atempause, Geschichte wird gemachtKunstverein am Rosa-Luxemburg-Platz, Berlin 2017 ©laurianghinitoiu
Exhibition View "Unterkunft Freiheit/ Accommodation Freedom" solo show2014-2015, Kunstmuseum Moritzburg, Halle (Saale) / photo: Marcus-Andreas Mohr
Exhibition View "Es kömmt drauf an. / The Point is."2014, Ausstellungsraum der IG Metall, Berlin, Germany (Solo Show) / photo: Bodo Grzonka
"Club Zukunft"2014, Plywood, printed canvas and satin, acrylglass, mirrors, projections, 150 x 350 x 160 cm Part of "Dialogue #1” (2014), Andrea Pichl & Anne-Mie Van Kerckhoven M HKA, Antwerp, Belgium photo: M HKA
"Club Zukunft"2014, Plywood, printed canvas and satin, acrylglass, mirrors, projections, 150 x 350 x 160 cm Part of "Dialogue #1” (2014), Andrea Pichl & Anne-Mie Van Kerckhoven M HKA, Antwerp, Belgium photo: M HKA
"A tut was B will, wenn B tut was A will / A does what B wants, if B does what A wants"Part I, colored plaster, mirrors 163 x 140 x 50 cm Exhibition View at "Gegenwelten", 2013, Kunsthistorisches Museum Schloss Ambras, Innsbruck
"was möglich wäre" (what would be possible)Museum Lichtenberg, Berlin 2012, 150 x 150 cm, each approx. 40 x 30 cm, colored plaster,
"Doublebind"Part of “Architektonika” (2012) and "Architektonika 2" (2013), , Hamburger Bahnhof, Riekhallen, Berlin, curated by Gabriele Knapstein 2011, Plywood, acrylic glass, aluminum profile, decorative chipboard, wallpaper, slide projections , ca. 325 x 650 x 400 cm / photo: Marion Lammersen / kubix
"Doublebind"Part of “Architektonika” (2012) and "Architektonika 2" (2013), , Hamburger Bahnhof, Riekhallen, Berlin, curated by Gabriele Knapstein 2011, Plywood, acrylic glass, aluminum profile, decorative chipboard, wallpaper, slide projections , ca. 325 x 650 x 400 cm / photo: Marion Lammersen / kubix
"Doublebind"Part of “Architektonika” (2012) and "Architektonika 2" (2013), , Hamburger Bahnhof, Riekhallen, Berlin, curated by Gabriele Knapstein 2011, Plywood, acrylic glass, aluminum profile, decorative chipboard, wallpaper, slide projections , ca. 325 x 650 x 400 cm / photo: Marion Lammersen / kubix
"Inherent Shortcomings / Natürliche Mängel" IIrish Museum of Modern Art, Process Room, Dublin, 2011, solo, cardboard, photographs, fabric, 150 x 150 x 210 cm
"Inherent Shortcomings / Natürliche Mängel" IIIrish Museum of Modern Art, Process Room, Dublin, 2011, solo, cardboard, photographs, fabric, 150 x 150 x 210 cm
"Unendliche Folgen" Part II (Unlimited Outcome)2011, molton, black wall paint, 400 x 400 x 150 cm, Delikatessenhaus Leipzig
"Aus dem abweichenden Winkel" (From a Deviting Angle)printed fabric, projections, paper, National Gallery Tashkent, Uzbekistan, 2010
"Aus dem abweichenden Winkel" (From a Deviting Angle)printed fabric, projections, paper, National Gallery Tashkent, Uzbekistan, 2010
"Für immer und immer"Mies van der Rohe Haus, Berlin, 2010, plywood, house paint, webbed plastic boards, 360 x 180 x 130 cm / photo: Roman März
"Assortment Type: B""Bewohnte Orte / Obydlená Místa", Kunstverein Springhornhof, 2008 Wabenpappe, gebrauchte Bata-Transportkartons, Filmausschnitt (1:12 min), J.L. Godard “Eine verheiratete Frau”, 1964, 2,35 m x 3,46 m x 2,70 m scale model of the smallest type of flat in the first funktional city, build - by the founder of the nowadays biggest shoecorporation Bata, Tomás Bata - at the begining of the 1930's in Zlín curated by Bettina von Dziembowski und Vaclav Milek with: HAWOLI, Dominik Lang, Andrea Pichl, Rafani, Tilo Schulz, Antje Schiffers und Thomas Sprenger, Katerina Šedá, Libot Stavjaník
exhibition design / installation"Fluxus East" / Fluxus networks in Central Eastern Europe, 2007, Künstlerhaus Bethanien
exhibition design / installation"Fluxus East" / Fluxus networks in Central Eastern Europe, 2007, Künstlerhaus Bethanien