Andreas Müller-Pohle Explained

Andreas Müller-Pohle
Birth Date:19 July 1951
Birth Place:Braunschweig
Nationality:German
Known For:Photographer, visiting professor, critic, artist, publisher and editor
Notable Works:Hong Kong Waters (2009–2010), Face Codes (1998–1999), Digital Scores (After Nicéphore Niépce) (1995–1998), Transformance (1979–1982), Constellations(1976–1979)
Style:conceptual art
Awards:Prix européen de la photographie de la Fondation Reind M. De Vries, Prix Pictet, Photobook Award

Andreas Müller-Pohle (born July 19, 1951, in Braunschweig) is a German photographer, media artist and publisher. He is considered an important representative of experimental photography[1] [2] and is the originator of the theory of "Visualism".[3] [4]

As a publisher, especially of the bi-lingual art magazine European Photography, Müller-Pohle has documented and influenced the development of independent photography since the early 1980s.[5] Since 1983 he has published the writings of the media and culture philosopher Vilém Flusser, whose work he has popularised especially in the German speaking countries.[6]

Biography

Andreas Müller-Pohle attended primary schools in Hanover and Kassel during 1958–1962, then 1962–1970, obtained the leaving certificate at Kassel Gymnasium. He studied law at University of Göttingen from 1970 to 1971, after which he trained as a commercial employee at Continental Gummi-Werke AG, Hanover until 1973. He studied economics and communication science from 1973 to 1974 in Hanover and from 1974 to 1979 in Göttingen. During this time he was introduced to photography by a friend, and purchased equipment, teaching himself the medium.[7] He initially worked with the moving image, and from the mid-1970s onwards engaged in practical and theoretical approaches to photography, undertaking a project Konstellationen to deal with pictorial syntax.[8]

Writer and theoretician

Müller-Pohle joined the journal Fotografie as writer and critic from 1971 to 1979, when he took over the Swiss Print Letter in 1980,[9] [10] including it in European Photography, and has been its publisher ever since.[11] Friend and philosopher Vilém Flusser's first book in English, his own translation, was Towards a Philosophy of Photography published in 1984 by the then new journal European Photography, followed by other media and cultural-philosophical texts in the following years. Since then, Müller-Pohle has been working with Flusser's oeuvre and archive. In 1987, together with Volker Rapsch under their imprint Immantrix they published Flusser's essay "Die Schrift" as an early electronic book on diskette.[12] In 1996 he produced the "Edition Flusser", a ten-volume edition.[13]

Educator

Since 1997, he has been guest professor at the Higher Institute for fine Arts, Antwerp,[14] and since, at teaching institutes in Europe, Asia[15] and North and South America. In 2005, he founded Eye-Mind, an individual workshop initiative in Berlin.

Photographic practice

Andreas Müller-Pohle's work spans a variety of topics and concepts in pursuit of a reflective examination of the medium of photography. His first projects from the mid-1970s dealt with questions of image aesthetics and photographic perception, he then turned to - now also with the medium of video - photo recycling and the materiality and immateriality of photography. His first solo exhibition was in 1978. Müller-Pohle's interest in "interfaces"[16] [17] [18] leads him in several of his works to completely renounce the classic photographic image and to transform it into other code systems (such as alphanumeric or genetic codes).[19] [20] In the mid-1990s, Müller-Pohle deconstructed digital, genetic and political codes. One of the first artists to have broken down and translated the analog and the digital codes of images, his series Digital Scores (after Nicéphore Niépce) decodes the photograph by Niépce, View from the Window at Le Gras into alphanumeric symbols distributed over eight panels. As Geoffrey Batchen expressed it:[21]

Fictional nostalgia aside, today's photographic universe is found not in clumps of silver but in the algorithms racing across the surface of German artist Andreas Müller-Pohle's 1995 Digital Scores (after Nicéphore Niépce)...No dots, No silver. No emulsion. No hidden information. In fact, nothing but information
His work The Danube River Project, created in 2005 and 2006, takes up this longstanding preoccupation with interfaces: A "picture atlas" of the Danube is annotated from water samples taken by the artist and inscribed in the photographs.[22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35]

Müller-Pohle's subsequent project, Hong Kong Waters, takes as subject diverse water landscapes of the Asian metropolis in a photo, video and sound installation.[36] [37] [38] Another work on the topic of water, Kaunas upon the Rivers, was created in 2017 as part of an artist-in-residence.[39]

Since 2013 Müller-Pohle has undertaken an extensive cycle revealing flows of urban traffic (Studies on Traffic), for which he uses the media of photography, sound and video.

Exhibitions, screenings, installations

Müller-Pohle has shown in more than 200 exhibitions, many with published catalogues, and his work has received international attention since the mid-1980s.

Collections

Müller-Pohle is represented in public and private collections.

Awards

Bibliography

Notes and References

  1. Marix Evans, M., St James Press. (1995). Contemporary Photographers. Norway: St. James Press
  2. Book: Photography after photography : memory and representation in the digital age. 1996. G+B Arts. Hubertus von Amelunxen, Stefan Iglhaut, Florian Rötzer, Alexis Cassel, Siemens Kulturprogramm, Aktionsforum Praterinsel. 978-90-5701-101-6. [Place of publication not identified]. 36533271.
  3. Müller-Pohle, Andreas (1980). "Visualism". European Photography. No. 3. Göttingen. pp. 4–10.
  4. Web site: Fotomanifeste Visualismus, Andreas Müller-Pohle, 1980. 2021-06-30. Fotomanifeste.de.
  5. Hans-Michael Koetzle: Das Lexikon der Fotografen 1900 bis heute. Droemersche Verlagsanstalt, Munich 2002, ISBN 3-426-66479-8, pp. 314-315
  6. http://archiv.ub.uni-marburg.de/diss/z2009/0786/pdf/das.pdf Andreas Ströhl: Die Geste Mensch – Vilém Flussers Kulturtheorie als kommunikationsphilosophischer Zukunftsentwurf.
  7. Book: Auer, Michèle. Encyclopédie internationale des photographes des débuts à nos jours = Photographers encyclopedia international from its beginnings to the present.. 1997. Ides et calendes. Michel Auer, Michèle Auer, Ides et calendes. 2-8258-0126-7. Neuchâtel [Switzerland]. 38161847.
  8. Web site: Collection Online. 2021-06-30. sammlung.mak.at. en.
  9. 24554742. 5. 1992. The Print Collector's Newsletter. 23. Reviewed work: European Photography Award 1991, EUROPEAN PHOTOGRAPHY. 179.
  10. Web site: Veeder. Hillary B.. October 2015. Histories of Periodical Literature of Art & Design 2015. 6 September 2021. Art Libraries Society of North America.
  11. "30 Years of European Photography." Interview by Peter Kunitzky. Eikon, Vienna, no. 69, 2010
  12. Flusser, V. (1987). Die Schrift. (Edition Flusser.) Göttingen: Immatrix Publ.
  13. Müller-Pohle. Andreas. Flusser. Vilém. 2012-07-17. Transformance. Philosophy of Photography. 2. 2. 257–271. 10.1386/pop.2.2.257_7. 2040-3682.
  14. Web site: Andreas Müller-Pohle. 2021-06-30. HISK. en.
  15. Web site: Cheng. Sam. 2015-03-06. Hong Kong Design Institute: Master Lecture Series: Art & Publishing – A Conversation between Andreas Müller-Pohle and Tse Ming Chong. 2021-06-26. Hong Kong Design Institute.
  16. Marianna Michalowska: "Pochwala eksperymentowania." Gazeta Malarzy i Poetów, Poznan, nr. 3, 2005
  17. Marianna Michalowska: "Interfaces – or the Face out of Sight. Andreas Müller-Pohle's Face Codes." Fotografia, Wrzesnia, Poland, nr. 18, 2005
  18. Dieter Roelstraete: "Andreas Müller-Pohle, Interfaces." Obscuur, Gent, nr. 18, December 2000
  19. Bogna Blazewicz: "Kod zycia – kod sztuki." Gazeta Malarzy i Poetów, Poznan, nr. 3, 2005
  20. Pavel Turek: "Jednosmerné cesty." Zivel, Prague, nr. 25, 2005
  21. Batchen, G. (2002). Each Wild Idea: Writing, Photography, History. United Kingdom: MIT Press. p.177
  22. Nick Thorpe: "The Danube – Shape Shifting River." Smithsonian Journeys, Washington, D.C., Summer 2016
  23. Lajos Adamik: "Intim felvételek egy síkostestü óriásról / The Danube River Project." Balkon, Budapest, no 7/8, 2008
  24. Dimana Trankova: "And the Danube flows on. Andreas Müller-Pohle's photography reveals unknown dimensions of a symbol of united Europe." Vagabond, Sofia, no. 25, 2008
  25. Erwin Riess: "Fluss, Schiff, Fahrt." Die Presse, Vienna, 30 August 2008
  26. Boris von Brauchitsch: "Flussabwärts durch zehn Länder." Kunst und Auktionen, Munich, no. 14, 2008
  27. Wenzel Müller: "Aus der Fischperspektive. The Danube River Project: Die Donau einmal anders gesehen." Ärzte Woche, Vienna, no. 20, 2008
  28. Ronald Berg: "Andreas Müller-Pohle: The Danube River Project." Eikon, Vienna, no. 62, 2008
  29. "Wasserkanten. The Danube River Project – Andreas Müller-Pohle." p3 Print Picture Passion, Meerbusch, no. 1, 2008
  30. Enno Kaufhold: "Andreas Müller-Pohle. The Danube River Project." Photonews, Hamburg, no. 4, 2008
  31. Brigitte Werneburg: "Mit einer Unterwasserkamera in den Fluss getaucht – Andreas Müller-Pohle betrachtet die Donau aus ihrer eigenen Perspektive." die tageszeitung, Berlin, 14 January 2008
  32. Karin Derstroff: "Die Poesie des Flusses. Andreas Müller-Pohles 'Danube River Project' im Stadtmuseum Ingolstadt." Donau-Kurier, Ingolstadt, 19 July 2007
  33. Gabriele Mayer: "Das geheimnisvolle Klirren des Wassers am Donaumarkt. Andreas Müller-Pohles Medieninstallation." Mittelbayerische Zeitung, Regensburg, 20 October 2006
  34. Katarína Gatialová: "Z vody von. Iný pohl'ad Andreasa Müller-Pohleho." Domino, Bratislava, 28 July 2006
  35. Helmut Pusch: "Durchs Fischauge gesehen. Andreas Müller-Pohles 'Danube River Project'." Südwest Presse, Ulm, 29 March 2006
  36. Gregor Auenhammer: "Im Zwischen aquatischer Tiefen und Untiefen." ÖkoStandard, Vienna, 22 September 2013
  37. Boris von Brauchitsch: "Andreas Müller-Pohle: Hong Kong Waters." Eikon, Vienna, no. 84/85, 2014
  38. Ulf Erdmann Ziegler: "Der Horizont ist nur eine Idee. Hong Kong Waters in einem neuen Fotoband von Andreas Müller-Pohle." Monopol, Berlin, October 2013
  39. Web site: riverproject.net. 2021-06-30. Riverproject.net.
  40. Web site: Erfurt. Veranstalter Stadtverwaltung. 2018-10-14. Analog und Schwarzweiß: Fotografie in Westdeutschland 1945 – 2000 aus der Sammlung Schupmann. 2021-09-08. Kunstmuseen Erfurt. de.
  41. Web site: Without Firm Ground – Flusser and the Arts 2015 ZKM. 2021-09-08. Zkm.de. en.
  42. Web site: Andreas Müller-Pohle: Coincidences. July 24, 2020. Ghmp.cz.
  43. Web site: (Mis)Understanding Photography. Museum Folkwang.
  44. Web site: Hong Kong Arts Centre. Hong Kong Arts Centre. 香港藝術中心. hkac.org.hk.
  45. Web site: Europäischer Monat der Fotografie Berlin - Artists (in alphabetic order). Mdf-berlin.de.
  46. Web site: Andreas Müller-Pohle - Kunstpalais Erlangen. Kunstpalais.de.
  47. Web site: The Danube River Project. Dzm-museum.de.
  48. Web site: < Andreas Müller-Pohle - Analog-Digital-Spiegel und Blind Genes > p0es1s.digitale poesie - Kulturforum Potsdamer Platz, Berlin. P0es1s.net.
  49. Web site: codeZone Andreas Müller-Pohle. Digitale Arbeiten 1995-2003.. Photomuseum.de. 17 February 2022.
  50. FotoFest 2002. The Classical Eye & Beyond. Houston: FotoFest, 2002. ISBN 0-9718044-0-0, pp. 66-69
  51. Web site: ex machina – Über die Zersetzung der Fotografie (2001) – nGbK Archive. Archiv.ngbk.de.
  52. Web site: Andreas Müller-Pohle: Digital Scores and Entropia | Museum of Contemporary Photography. Mocp.org.
  53. Web site: Tschumipaviljoen - Entropia. Tschumipaviljoen.org. 17 February 2022.
  54. Nationalgalerie Berlin (ed.): Das XX. Jahrhundert. Ein Jahrhundert Kunst in Deutschland. Berlin: Nicolai, 1999. ISBN 3-87584-869-1, pp. 298 f.
  55. Hubertus von Amelunxen (ed.): Andreas Müller-Pohle: Interfaces. Foto+Video 1977–1999. Introduction by Hubertus von Amelunxen. Göttingen: European Photography, 1999. ISBN 3-923283-51-2
  56. Web site: Andreas Müller-Pohle: Codex :: Műcsarnok. Mucsarnok.hu.
  57. Web site: Archiv Kunstverein Rüsselsheim. Kunstvereinruesselsheim.de.
  58. Leo Reijnen (ed.): 14th World Wide Video Festival. The Hague: Stichting World Wide Video Centre, 1996. ISBN 90-75018-14-2, pp. 106 f.
  59. Hubertus von Amelunxen, Stefan Iglhaut, Florian Rötzer (eds.): Photography after Photography. Amsterdam/Munich: Overseas Publishers Association and Siemens Kulturprogramm, 1996. ISBN 90-5701-101-8, pp. 228-231
  60. Web site: Expositions — CONTRETYPE . 2021-06-29 . 2021-06-29 . https://web.archive.org/web/20210629184011/https://www.contretype.org/timeline-de-nos-expositions . dead .
  61. Ulrike Gauss, Barbara Hofmann, Klaus Honnef, Reinhold Mißelbeck: Deutsche Kunst mit Photographie. Die 90er Jahre. Frankfurt/Main: Deutsche Fototage, 1996. ISBN 3-930054-07-8, pp. 52 f.
  62. Web site: Jahresprogramm . Fotogaleriewien.at. 17 February 2022.
  63. Andreas Müller-Pohle: Was ich nicht sehe, fotografiere ich. Was ich nicht fotografiere, sehe ich. Arbeiten 1976–1991. Cottbus: Brandenburgische Kunstsammlungen, 1991. FotoeditionNr. 13
  64. Gottfried Jäger, Jutta Hülsewig-Johnen, J.A. Schmoll gen. Eisenwerth (eds.): Das Foto als autonomes Bild – Experimentelle Gestaltung 1839–1989. Stuttgart: Edition Cantz, 1989. ISBN 3-89322-161-1, pp. 188 f.
  65. Jörg Boström (ed.): Dokument und Erfindung – Fotografien aus der Bundesrepublik Deutschland 1945 bis heute. Berlin: Edition q, 1989. ISBN 3-9801163-7-9, p. 164-169
  66. Fotovision. Projekt Fotografie nach 150 Jahren. Hannover: Sprengel Museum, 1988. ISBN 3-89169-044-4, pp. 238 f.
  67. Web site: Abbildung, Einbildung : Fotografie : Gerald Domenig, Andreas Müller-Pohle, Axel Schneider, Herbert Schwöbel ; dichte Filme : Urs Breitenstein, Thomas Feldmann, Karl Kels, Roland Krüger, André Lehmann, Pola Reuth, Monika Schwitte : 19. Januar-2. März 1986 / Katalog: Herbert Schwöbel.. Primo.getty.edu. 2022-02-17.
  68. Jean-Claude Lemagny: La Photographie créative. Les collections de la Bibliothèque nationale : 15 ans d'enrichissement. Paris: Contrejour, 1984. ISBN 2-859-49-058-2, photos 252, 253.
  69. Peter Weibel/Anna Auer (eds.): Erweiterte Fotografie / Extended Photography. 5. Internationale Biennale. Vienna: Wiener Secession, 1981, pp. 57, 64-67
  70. Web site: New German Photography | the Photographers' Gallery . 2021-06-29 . 2021-06-26 . https://web.archive.org/web/20210626175758/https://thephotographersgallery.org.uk/whats-on/exhibition/new-german-photography . dead .
  71. Rolf Wedewer (ed.): Vorstellungen und Wirklichkeit – 7 Aspekte subjektiver Fotografie. Cologne: Wienand Verlag, 1980. ISBN 3-87909-100-5, pp.114-127
  72. Web site: Museum of Contemporary Photography. 2021-06-30. Mocp.org.
  73. Web site: 2019-12-04. Andreas Müller-Pohle. 2021-06-29. Center for Creative Photography. en-US.
  74. Web site: Müller-Pohle. Andreas. 1992. Budapest, from the series Perlasca Pictures. The Museum of Fine Arts, Houston.
  75. Web site: Catalogue search: Mühler-Pohle. 2021-06-29. Institut Valencià d'Art Modern, IVAM. en-US.
  76. Web site: 2021-03-31. The Result of Photobook Dummy Award 2021 Has Been Released!. 2021-06-29. Hong Kong Photobook Festival. en-US.
  77. Web site: 2012-06-14. Andreas Müller-Pohle. 2021-06-29. Prix Pictet. en.
  78. Web site: Kassel Photobook Award 2008 – Fotobbokfestival Kassel. Fotobookfestival.org. 2021-06-30. en-US.
  79. Web site: Equivalence > Laboratory > Andreas Müller-Pohle . 2021-06-26 . 2017-03-30 . https://web.archive.org/web/20170330070333/http://equivalence.com/labor/lab_mp.shtml . dead .
  80. Web site: Andreas Müller-Pohle. Andreas. Müller-Pohle. LensCulture.
  81. Web site: Andreas Müller-Pohle | ELMCIP. Elmcip.net.

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