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.
"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