Andreas Müller-Pohle

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Andreas Müller-Pohle
Born (1951-07-19) July 19, 1951 (age 70)
Braunschweig
NationalityGerman
EducationUniversity of Göttingen, University of Hanover
Known forPhotographer, visiting professor, critic, artist, publisher and editor
Notable work
Hong Kong Waters (2009-2010), Face Codes (1998-1999), Digital Scores (After Nicéphore Niépce) (1995-1998), Transformance (1979-1982), Constellations(1976-1979)
Styleconceptual art
MovementExperimental photography, contemporary photography
AwardsPrix européen de la photographie de la Fondation Reind M. De Vries, Prix Pictet, Photobook Award
Websitemuellerpohle.net

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][5]

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.[6] 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.[7]

Biography[]

Andreas Müller-Pohle attended primary schools in Hanover and Kassel during 1958-1962, then 1962-70, obtained the leaving certificate at Kassel Gymnasium. He studied law at University of Göttingen from 1970-1, 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 which time he was introduced to photography by a friend and purchased equipment, teaching himself the medium.[8] 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.[9]

Writer, theoretician[]

Müller-Pohle joined the journal Fotografie as writer and critic from 1971 to 1979, when he founded the magazine European Photography and has been its publisher ever since.[10] Friend and philosopher Vilém Flusser's first book in English, his own translation, was Towards a Philosophy of Photography was 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.[11] In 1996 he produced the “Edition Flusser”, a ten-volume edition.[12]

Educator[]

Since 1997 he has been guest professor at the Higher Institute for fine Arts, Antwerp,[13] and since, at teaching institutes in Europe, Asia[14] 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”[15][16][17] 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).[18][19] 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 of Niépce,[20] View from the Window at Le Gras into alphanumeric code distributed over eight panels. As Geoffrey Batchen expresses 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 2005/06, 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 it has received international attention since the mid-1980s.

Exhibitions, Screenings, Installations (selection)[]

Collections[]

Müller-Pohle is represented in public and private collections.

Awards[]

  • 2021: Hong Kong Photobook Award - elected judge[75]
  • 2011: Prix Pictet - elected nominator[76]
  • 2008: Kassel PhotoBook Award[77]
  • 2001: Prix européen de la photographie de la Fondation Reind M. De Vries[citation needed]

Bibliography[]

References[]

  1. ^ Marix Evans, M., St James Press. (1995). Contemporary Photographers. Norway: St. James Press
  2. ^ Photography after photography : memory and representation in the digital age. Hubertus von Amelunxen, Stefan Iglhaut, Florian Rötzer, Alexis Cassel, Siemens Kulturprogramm, Aktionsforum Praterinsel. [Place of publication not identified]: G+B Arts. 1996. ISBN 978-90-5701-101-6. OCLC 36533271.CS1 maint: others (link)
  3. ^ "Müller-Pohle, Andreas", Benezit Dictionary of Artists, Oxford University Press, 2011-10-31, retrieved 2021-06-26
  4. ^ Müller-Pohle, Andreas (1980). "Visualism". European Photography. No. 3. Göttingen. pp. 4–10.
  5. ^ "Fotomanifeste | Visualismus, Andreas Müller-Pohle, 1980". www.fotomanifeste.de. Retrieved 2021-06-30.
  6. ^ Hans-Michael Koetzle: Das Lexikon der Fotografen 1900 bis heute. Droemersche Verlagsanstalt, Munich 2002, ISBN 3-426-66479-8, pp. 314-315
  7. ^ Andreas Ströhl: Die Geste Mensch – Vilém Flussers Kulturtheorie als kommunikationsphilosophischer Zukunftsentwurf. Philipps-Universität Marburg, Germany. Retrieved June 21, 2021.
  8. ^ Auer, Michèle (1997). Encyclopédie internationale des photographes des débuts à nos jours = Photographers encyclopedia international from its beginnings to the present. Michel Auer, Michèle Auer, Ides et calendes. Neuchâtel [Switzerland]: Ides et calendes. ISBN 2-8258-0126-7. OCLC 38161847.
  9. ^ Jump up to: a b "Collection Online". sammlung.mak.at. Retrieved 2021-06-30.
  10. ^ “30 Years of European Photography.” Interview by Peter Kunitzky. Eikon, Vienna, no. 69, 2010
  11. ^ Flusser, V. (1987). Die Schrift. (Edition Flusser.) Göttingen: Immatrix Publ.
  12. ^ Müller-Pohle, Andreas; Flusser, Vilém (2012-07-17). "Transformance". Philosophy of Photography. 2 (2): 257–271. doi:10.1386/pop.2.2.257_7. ISSN 2040-3682.
  13. ^ "Andreas Müller-Pohle". HISK. Retrieved 2021-06-30.
  14. ^ Cheng, Sam (2015-03-06). "Hong Kong Design Institute: Master Lecture Series: Art & Publishing – A Conversation between Andreas Müller-Pohle and Tse Ming Chong". Hong Kong Design Institute. Retrieved 2021-06-26.
  15. ^ Marianna Michalowska: “Pochwala eksperymentowania.” Gazeta Malarzy i Poetów, Poznan, nr. 3, 2005
  16. ^ Marianna Michalowska: “Interfaces – or the Face out of Sight. Andreas Müller-Pohle’s Face Codes.” Fotografia, Wrzesnia, Poland, nr. 18, 2005
  17. ^ Dieter Roelstraete: “Andreas Müller-Pohle, Interfaces.” Obscuur, Gent, nr. 18, December 2000
  18. ^ Bogna Blazewicz: “Kod zycia – kod sztuki.” Gazeta Malarzy i Poetów, Poznan, nr. 3, 2005
  19. ^ Pavel Turek: “Jednosmerné cesty.” Zivel, Prague, nr. 25, 2005
  20. ^ Jump up to: a b "Museum of Contemporary Photography". www.mocp.org. Retrieved 2021-06-30.
  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. ^ "riverproject.net". www.riverproject.net. Retrieved 2021-06-30.
  40. ^ [1] Kunsthalle Erfurt. Retrieved on June 25, 2021.
  41. ^ [2] ZKM. Retrieved on June 23, 2021.
  42. ^ [3] Prague City Gallery. Retrieved on June 23, 2021.
  43. ^ [4] Museum Folkwang. Retrieved on June 23, 2021.
  44. ^ [5] Hong Kong Arts Centre. Retrieved on June 23, 2021.
  45. ^ [6] Uferhallen. Retrieved on June 24, 2021.
  46. ^ [7] Kunstpalais. Retrieved on June 24, 2021.
  47. ^ [8] Donauschwäbisches Zentralmuseum. Retrieved on June 24, 2021.
  48. ^ [9] p0es1s. Retrieved on June 24, 2021.
  49. ^ [10] Museum für Photographie. Retrieved on June 24, 2021.
  50. ^ FotoFest 2002. The Classical Eye & Beyond. Houston: FotoFest, 2002. ISBN 0-9718044-0-0, pp. 66-69
  51. ^ [11] Neue Gesellschaft für Bildende Kunst. Retrieved on June 24, 2021.
  52. ^ [12] The Museum of Contemporary Photography. Retrieved on June 24, 2021.
  53. ^ [13] Tschumipavillon. Retrieved on June 24, 2021.
  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. ^ [14] Mücsarnok. Retrieved on June 24, 2021.
  57. ^ [15] Kunstverein Rüsselsheim. Retrieved on June 24, 2021.
  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. ^ [16] Espace Photographique Contretype. Retrieved on June 24, 2021.
  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. ^ [17] Fotogalerie Wien. Retrieved on June 24, 2021.
  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. ^ [18] Getty Research. Retrieved on June 25, 2021.
  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. ^ [19] The Photographers’ Gallery. Retrieved on June 24, 2021.
  71. ^ Rolf Wedewer (ed.): Vorstellungen und Wirklichkeit – 7 Aspekte subjektiver Fotografie. Cologne: Wienand Verlag, 1980. ISBN 3-87909-100-5, pp.114-127
  72. ^ "Andreas Müller-Pohle". Center for Creative Photography. 2019-12-04. Retrieved 2021-06-29.
  73. ^ Müller-Pohle, Andreas (1992). "Budapest, from the series Perlasca Pictures". The Museum of Fine Arts, Houston.
  74. ^ "Catalogue search: Mühler-Pohle". Institut Valencià d’Art Modern, IVAM. Retrieved 2021-06-29.
  75. ^ "The Result of Photobook Dummy Award 2021 Has Been Released!". Hong Kong Photobook Festival. 2021-03-31. Retrieved 2021-06-29.
  76. ^ "Andreas Müller-Pohle". Prix Pictet. 2012-06-14. Retrieved 2021-06-29.
  77. ^ "Kassel Photobook Award 2008 – FOTOBOOKFESTIVAL KASSEL". Retrieved 2021-06-30.
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