Andreas Müller-Pohle, born in Braunschweig in 1951, is a Berlin-based media artist and publisher. He studied economics and communication sciences at the Universities of Hannover and Göttingen. In 1979, he founded European Photography, an independent art magazine for contemporary photography and new media. His first artistic projects in the late 1970s focused on issues of photographic perception and later on photo recycling, now also incorporating video. In the mid-1990s he began to explore the use of digital, genetic, and political codes. This was followed by various projects on the topic of water, with extensive portraits of the Danube River and the megalopolis of Hong Kong. Müller-Pohle’s work has been widely published and exhibited and is included in numerous private and museum collections worldwide. As a publisher, Müller-Pohle has edited the major works of the media philosopher Vilém Flusser, available today in the ten-volume Edition Flusser and including the groundbreaking Philosophy of Photography, which has been translated into over twenty languages. With the publication of Flusser’s essay Die Schrift: Hat Schreiben Zukunft? (Does Writing Have a Future?) on floppy disk in 1986, he is one of the pioneers of today’s e-book. In 2001, Müller-Pohle was awarded the European Photography Prize by the Reind M. De Vries Foundation. He is the author of numerous texts on photographic theory, including “Visualism,” and has been a visiting professor and lecturer at, among others, the Higher Institute of Fine Arts in Antwerp, Belgium, and the Hong Kong Design Institute. In addition to various singular subjects, he is engaged in two long-term projects in which he combines photography, video and sound: Studies on Water, including his portraits of the Danube and Hong Kong’s waterscapes, and Studies on Traffic, exploring mobility phenomena in different regions of the world. He is currently working on a book about Vladimir Putin and his relationships with foreign leaders and cultural figures entitled Putin’s Long Shadows. Another theoretical and practical focus of his work is projects at the intersection of photography and artificial intelligence. – See also

Exhibitions, Screenings, Installations

“Acqua, l’eau dans tous ses états.” Arsenale, Bastia, Corsika

“Épreuves de la matière. La photographie contemporaine et ses métamorphoses.” Bibliothèque nationale de France, Paris, France
“Noir et Blanc. Une esthétique de la photographie.” Bibliothèque nationale de France, Paris, France
“Andreas Müller-Pohle: Okoljski odtisi / Environmental Imprints.” Cankarjev dom, Ljubljana, Slovenia
“Concrete & Generative Photography. From Light and Paper to NFT and Artificial Intelligence (AI).” Photo Edition Berlin, Germany

“Andreas Müller-Pohle: Studies on Traffic. Hanoi, 2013.” Künstlerhaus Bethanien, Berlin Germany
“Andreas Müller-Pohle: Studies on Water.” Lumenvisum Gallery, Hong Kong

“Andreas Müller-Pohle: Mers et Rivières.” Pavillon Populaire, Montpellier, France
“Andreas Müller-Pohle: Face Codes.” Serdica Gallery, International Digital Arts Festival DA Fest, Sofia, Bulgaria
“Andreas Müller-Pohle: Video Works 1996–2021.” Ludwik Zamenhof Centre, Interphoto 2021, Białystok, Poland

“Schupmann Collection – Fotografie in Westdeutschland.” Museum im Kulturspeicher, Würzburg, Germany

“Land_Scope.” Münchner Stadtmuseum, Munich, Germany
“Analog und Schwarzweiß: Fotografie in Westdeutschland 1945–2000 aus der Sammlung Schupmann.” Kunsthalle Erfurt, Germany
“Open Codes II. The World as a Field of Data.” ZKM | Center for Art and Media, Karlsruhe, Germany
“Naturel Pas Naturel.” Palais Fesch – Musée des Beaux-Arts, Ajaccio, Corsica
“Runes: Photography and Decipherment.” Centre for Contemporary Photography, Melbourne, Australia

“Open Codes. Living in Digital Worlds.” ZKM | Center for Art and Media, Karlsruhe, Germany
“The Waterful Kaunas.” Kaunas Photo 2017, Kaunas, Lithuania

“Concrete and Generative Photography – Part 2.” Photo Edition Berlin, Germany
“The Memory of the Future. Photographic Dialogues Between Past, Present and Future.” Musée de l’Elysée, Lausanne, Switzerland
“Emanations: The Art of the Cameraless Photograph.” Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand
“Map of Daily Life.” Tianjin Academy of Fine Arts, Tianjin, China
“Vom Schreiben, Reisen und Fotografieren.” Kunsthaus Horn; Rathaus Scheibbs; Dorfmuseum Roiten; Schüttkasten Allentsteig; Konzerthaus Weinviertel, Ziersdorf, Austria

“Bodenlos – Vilém Flusser und die Künste / Without Ground – Vilém Flusser and the Arts.” Akademie der Künste, Berlin, Germany
“Map of Daily Life.” Lishui Photography Festival 2015, Lishui Art Museum, Lishui, China
“Nicéphore Niépce en héritage.” Musée Nicéphore Niépce, Chalon-sur-Saône, France
“Bodenlos – Vilém Flusser und die Künste / Without Ground – Vilém Flusser and the Arts.” ZKM | Center for Art and Media, Karlsruhe, Germany
“Über Wasser. Malerei und Photographie von William Turner bis Olafur Eliasson / When Water Matters. Painting and Photography from J.M.W. Turner to Olafur Eliasson.” Bucerius Kunst Forum, Hamburg, Germany
“Lichtbild und Datenbild – Spuren Konkreter Fotografie / Light Image and Data Image – Traces of Concrete Photography.” Museum im Kulturspeicher, Würzburg, Germany

“Andreas Müller-Pohle: Coincidences. A Select Retrospective.” Prague City Gallery, House of Photography, Prague, Czech Republic
“(Mis)Understanding Photography. Werke und Manifeste.” Museum Folkwang, Essen, Germany
“Zwischenspielraum.” Artificial Image, Fahrbereitschaft, Berlin, Germany

“Andreas Müller-Pohle: Hong Kong Waters.” Lianzhou Foto, The Granary, Lianzhou, China
“Andreas Müller-Pohle: Hong Kong Waters.” Ida Illuster Gallery, Pavilion at Milchhof Ateliers, Berlin, Germany
“Something Other Than Photography: Photo & Media.” Edith-Russ-Haus for Media Art, Oldenburg, Germany
“Andreas Müller-Pohle: Hong Kong Waters.” Asia One Vertical Art Space, Hong Kong

“Network – C.A.R. Contemporary Art Ruhr.” Zaha Museum, Seoul, South Korea
“Andreas Müller-Pohle: Codes & Waters (1995–2011).” The Brno House of Arts, Brno, Czech Republic
“Sense of Place. European Landscape Photography.” Bozar, Centre for Fine Arts, Brussels, Belgium
“What is a Photograph?” New Orleans Museum of Art, New Orleans, Louisiana, USA
“Andreas Müller-Pohle: Entropia, Hiroshima 29/3/01, Hong Kong Waters, Yumiko, Araki at Work.” 8th International Directors Lounge, Berlin, Germany

“Andreas Müller-Pohle: flow, flow. Foto, Video, Sound.” Photo Edition Berlin, Berlin, Germany
“Metropolis 2.0 – City Life in the Urban Age.” The Empty Quarter, Dubai, United Arab Emirates
“Metropolis – City Life in the Urban Age.” Noorderlicht Photofestival, Groningen, Netherlands
“Andreas Müller-Pohle: Hong Kong Waters.” Lumenvisum Gallery, Hong Kong
“L’objet photographique, une invention permanente.” Maison Européenne de la Photographie, Paris, France
“Andreas Müller-Pohle: Hong Kong Waters. Photo/Video/Sound.” Hong Kong Arts Centre, Hong Kong
“Andreas Müller-Pohle: The Danube River Project.” Gesshin-in Temple, Kyoto, Japan

“Andreas Müller-Pohle: The Danube River Project.” Nessim Galéria, Budapest, Hungary

“Andreas Müller-Pohle: The Danube River Project.” Athens Photo Festival, Esplanade Building, Faliron Olympic Complex, Athens, Greece
“Andreas Müller-Pohle: The Danube River Project.”, Naturama – Modern Natural History, Svendborg, Denmark
“Kosmos. Neue Fotografien aus dem Weltraum.” Stadthaus Ulm, Germany

“Andreas Müller-Pohle: The Danube River Project.” European Month of Photography, Uferhallen, Berlin, Germany

“Andreas Müller-Pohle: The Danube River Project.” Europäisches Donaumuseum, Stadtmuseum, Ingolstadt, Germany
“Andreas Müller-Pohle: Photo/Video/Sound. Arbeiten 1995–2006.” Städtische Galerie, Palais Stutterheim, Erlangen, Germany

“Wahr-Zeichen. Fotografie und Wissenschaft.” Technische Sammlungen Dresden/Museen der Stadt Dresden, Germany
“Andreas Müller-Pohle: The Danube River Project.” Donaumarkt, Regensburg, Germany
“Alterazioni. Le materie della fotografia tra analogico e digitale.” Museo Fotografia Contemporanea, Milan, Italy
“Pulsar Caracas 2006.” Encuentro internacional multimedia, Centro de Arte Periférico Caracas, Caracas, Venezuela
“Andreas Müller-Pohle: Projekat reka Dunav / The Danube River Project.” Belgrade Cultural Center, Art Gallery, Belgrade, Serbia
“Troubled Water.” De Veemvloer, Amsterdam, Netherlands
“Andreas Müller-Pohle: The Danube River Project.” Central European House of Photography, Bratislava, Slovakia
“Andreas Müller-Pohle: The Danube River Project.” Donauschwäbisches Zentralmuseum, Ulm, Germany

“Andreas Müller-Pohle: codeZone. Digitale Arbeiten.“ Stadtgalerie im Elbeforum, Brunsbüttel, Germany
“Andreas Müller-Pohle: codeZone. Digital Works 1995-2005.” Stary Browar – Galeria i Słodowni, IV Biennale Fotografii w Poznaniu, Poznan, Poland
“Andreas Müller-Pohle: codeZone. Digital Works 1995–2005.” Aura Gallery, Shanghai, China

“Andreas Müller-Pohle: codeZone. Digital Works 1995–2003.” Dom umenia, Month of Photography, Bratislava, Slovakia
“Metamorfoses do Real.” Mosteiro de Tibães, Encontros da Imagem, Braga, Portugal
“Andreas Müller-Pohle: codeZone. Digital Works.” Muzeul Literaturii Române / Romanian Literature Museum, Bucharest, Romania
“p0es1s. Digital Poetry.” Kulturforum Potsdamer Platz, Berlin, Germany

Rencontres Internationales Paris/Berlin, Podewil, Berlin, Germany
“Andreas Müller-Pohle: CodeZone. Digitale Arbeiten 1995–2003.” Museum für Photographie, Brunswick, Germany
“Hiroshima Art Document 2003.” The Former Bank of Japan, Hiroshima, Japan
“In Out.” International Festival of the Digital Image. Galerie Karolinum & Old Town Square, Prague, Czech Republic
Rencontres Internationales Paris/Berlin, Immanence, Paris, France

“Andreas Müller-Pohle: CodeZone. Digital Projects.” Gallery Ississ, Kyoto, Japan
“Andreas Müller-Pohle: CodeZone. Digital Projects.” Gallery Prinz, Kyoto, Japan
“Situated Realities. Where Technology and Imagination Intersect.” Minneapolis College of Art and Design, Minneapolis, Minnesota, USA
“Situated Realities. Where Technology and Imagination Intersect.” Art Center College of Design, Pasadena, California, USA
“Andreas Müller-Pohle: Atomic Laughter.” Galerie Esther Woerdehoff, Paris, France
“Andreas Müller-Pohle: Interfaces.” FotoFest, Topek Building, Houston, Texas, USA
“Situated Realities. Where Technology and Imagination Intersect.” Maryland Institute College of Art, Baltimore, Maryland, USA

“Los límites del territorio. Fronteras.” Sala de Exposiciones „El Aljibe.” Haría, Bienal de Lanzarote, Spain
“ex machina. Über die Zersetzung der Fotografie.” Galerie Schüppenhauer, Cologne, Germany
“Sammlung Schupmann. Fotografie in Deutschland nach 1945.” Museum für Photographie, Brunswick, Germany
“ex machina. Über die Zersetzung der Fotografie.” Neue Gesellschaft für Bildende Kunst / Künstlerhaus Bethanien, Berlin, Germany

“Landschaften in der zeitgenössischen Fotografie. Aus der Sammlung der DG Bank.” Landesmuseum für Kunst und Kulturgeschichte, Oldenburg, Germany
“Andreas Müller-Pohle: Digital Scores, Entropia.” The Museum of Contemporary Photography, Chicago, Illinois, USA
“Aires: Luz y Sombra de Las Palmas de Gran Canaria.” Museo Internacional de Arte Contemporáneo, Arrecife, Lanzarote, Spain
“Andreas Müller-Pohle: Interfaces.” Galerie Esther Woerdehoff, Paris, France
“Watch Me (Watch You).” Photosynkyria 2000, Thessaloniki Museum of Photography, Thessaloniki, Greece
“Andreas Müller-Pohle: Entropia.” Tschumi Pavillon, Groningen, Netherlands

“Aires: Luz y Sombra de Las Palmas de Gran Canaria.” Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain
“Das XX. Jahrhundert. Ein Jahrhundert Kunst in Deutschland.” Staatliche Museen zu Berlin, Neue Nationalgalerie, Berlin, Germany
“Flous et modernités. La rêverie du devenir.” Rencontres Internationales de la Photographie, Le Capitole, Arles, France
“Andreas Müller-Pohle: Interfaces. Fotografické práce a videa 1977–1999.” Galerie Václava Špály, Prague, Czech Republic
“Attack! Photography on the Edge.” Holland Festival, Arti et Amicitiae, Amsterdam, Netherlands
“Veni, Vidi, Vidéo.” Ecole supérieure d’art, Cambrai, France
“Andreas Müller-Pohle: Interfaces. Foto + Video 1977–1999.” Altes Rathaus, Göttingen, Germany

“Andreas Müller-Pohle: Synopsis.” Gallery Ississ, Kyoto, Japan
“One Hundred Fine Photographs.” Eaton Fine Art, West Palm Beach, Florida, USA
“Andreas Müller-Pohle: Kódex.” Mücsarnok / Kunsthalle, Budapest, Hungary
“Fotografie in Deutschland nach 1945. Die Sammlung Schupmann.” Residenzschloss Arolsen, Germany
“Andreas Müller-Pohle: Digitális partitúrák és Entropia.” Galéria Goethe-Institut, Budapest, Hungary

“Andreas Müller-Pohle: Synopsis.” The Print Center, Philadelphia, Pennsylvania, USA
“Andreas Müller-Pohle: Entropia.” Museum für Photographie & Wasserturm am Giersberg, Brunswick, Germany
“Analog – Digital. Fotografie im Übergang.” Museum für Photographie, Brunswick, Germany
“Allemagne, années 80. Aspects de la photographie allemande contemporaine dans les collections du Fond National d’Art Contemporain et de la Maison Européenne de la Photographie.” Maison Européenne de la Photographie, Paris, France
“Photography After Photography. Memory and Representation in the Digital Age.” Institute of Contemporary Art, Philadelphia, Pennsylvania, USA
“Andreas Müller-Pohle: Synopsis.” Goethe-Institut, Houston, Texas, USA
“Andreas Müller-Pohle: Synopsis.” Goethe-Institut, Atlanta, Georgia, USA
“Andreas Müller-Pohle: Entropia.” Kunstverein Rüsselsheim, Germany
“Andreas Müller-Pohle: Synopsis.” Vu – Centre de la Photographie, Québec, Canada
“Photography After Photography. Memory and Representation in the Digital Age.” The Finnish Museum of Photography, Helsinki, Finland
“Andreas Müller-Pohle: Cyclogrammes.”Galerie Mantoux-Gignac, Paris, France
“Andreas Müller-Pohle: Partitions digitales et Signa.” Galerie Condé, Paris, France

“Photography After Photography. Memory and Representation in the Digital Age.” Fotomuseum Winterthur, Switzerland
“Vidéo Art Plastique : 10ièmes Rencontres Hérouville Saint-Clair 1996.” Centre d’Art Contemporain de Basse-Normandie, Hérouville Saint-Clair, France
“Photography After Photography. Memory and Representation in the Digital Age.” Museet for Fotokunst, Odense, Denmark
“Photography After Photography. Memory and Representation in the Digital Age.” Brandenburgische Kunstsammlungen, Cottbus, Germany
“Andreas Müller-Pohle: Entropa.“ 14th World Wide Video Festival, Gemeentemuseum, The Hague, Netherlands
“Photography After Photography. Memory and Representation in the Digital Age.” Städtische Galerie Erlangen, Germany
“Photography After Photography. Memory and Representation in the Digital Age.” Kunsthalle Krems, Austria
“Andreas Müller-Pohle: Digital Scores II (after Nicéphore Niépce).” Photosynkyria 96, Gallery 111, Thessaloniki, Greece

“Photography After Photography. Memory and Representation in the Digital Age.” Aktionsforum Praterinsel, Munich, Germany
“Andreas Müller-Pohle: De Perrudja à Perlasca.” Espace Photographique Contretype, Brussels, Belgium
“Andreas Müller-Pohle: Perlasca Pictures.” Kunstverein Hildesheim, Germany

“Andreas Müller-Pohle: Perlasca Motion Pictures.” The House of Balabanov, Plovdiv, Bulgaria
“Paysage de l’apparence.” Mai de la Photo, Collège des Jésuites, Reims, France
“Photogramme: une pratique contemporaine.” Espace Photographique Contretype, Brussels, Belgium
“Deutsche Kunst mit Photographie: Die 90er Jahre.” Rheinisches Landesmuseum, Bonn, Germany

“Wiederbegegnung.” Marburger Kunstverein, Marburg, Germany
“Andreas Müller-Pohle: Perlasca Pictures.” Centre de la Photographie, Geneva, Switzerland
“Deutsche Kunst mit Photographie: Die 90er Jahre.” Deutsches Architekturmuseum, Frankfurt, Germany
“Andreas Müller-Pohle.” Galeria Documenta, São Paulo, Brazil

“Andreas Müller-Pohle: Signa / Cyclograms.” Fotogalerie Wien, Vienna, Austria
“L’Échappée européenne.” Mois de la Photo, Pavillon des Arts, Paris, France
“Première Photo.” Mois de la Photo, Galerie du Jour Agnès B., Paris, France

“O Coraçao da Ciência / Au coeur de la science.” Espace Photographique Contretype, Brussels, Belgium
“The Persistence of Memory.” Third Israeli Biennale of Photography, Mishkan Le’Omanut, Museum of Art, Ein Harod, Israel
“Andreas Müller-Pohle: Was ich nicht sehe, fotografiere ich. Was ich nicht fotografiere, sehe ich. Arbeiten 1976–1991.“ Brandenburgische Kunstsammlungen, Cottbus, Germany
“Européens.” Festival Photographique du Trégor, Centre Jean Savidan, Lannion, France
“O Coraçao da Ciência / Au coeur de la science.” Centro de Estudos de Fotografia, Coimbra, Portugal

“Dokument und Erfindung – Fotografien aus der Bundesrepublik Deutschland 1945 bis heute.” Moore College of Art and Design, Philadelphia, Pennsylvania, USA

“Dokument und Erfindung – Fotografien aus der Bundesrepublik Deutschland 1945 bis heute.” Augustinermuseum, Freiburg, Germany
“Das Foto als autonomes Bild – Experimentelle Gestaltung 1839-1989.” Bayerische Akademie der Schönen Künste, Munich, Germany
“Intern – Extern.” Galerieforum, Berufsverband Bildender Künstler, Düsseldorf, Germany
“Das Foto als autonomes Bild – Experimentelle Gestaltung 1839-1989.” Kunsthalle Bielefeld, Germany
“What is Photography?” Mánes Gallery, Prague, Czechoslovakia
“Fotovision – Projekt Fotografie nach 150 Jahren.” Museum für Gestaltung, Zurich, Switzerland
“Dokument und Erfindung – Fotografien aus der Bundesrepublik Deutschland 1945 bis heute.” Haus am Lützowplatz, Berlin, Germany
“Andreas Müller-Pohle: Fotografie.” Galerie Stará radnice, Brno, Czechoslovakia
“Fotovision – Projekt Fotografie nach 150 Jahren.” Kunstraum im Messepalast, Vienna, Austria
“Weitblick – Aspekte einer Kunst mit Fotografie.” Universitätsmuseum für Kunst und Kulturgeschichte, Marburg, Germany

“Andreas Müller-Pohle: Dacapo.“ Galerie für Fotografie Jutta Rössner, Stuttgart, Germany
“Andreas Müller-Pohle: Dacapo.” Círculo de Artes Plásticas, Coimbra, Portugal
“Fotovision – Projekt Fotografie nach 150 Jahren.” Sprengel Museum, Hanover, Germany
“L’art moderne à Marseille. La collection du Musée Cantini.” Musée Cantini, Marseille, France
“Fotografische Bilder.” Deutscher Künstlerbund, Mannheimer Kunstverein, Mannheim, Germany

“Fotografische Bilder.” Deutscher Künstlerbund, Städtische Galerie, Nordhorn, Germany
“Andreas Müller-Pohle: Transformance.” Galerie Studio 666, Paris, France
“Andreas Müller-Pohle: Transformance.” Marburger Kunstverein, Marburg, Germany
“Le temps d’un mouvement.” Centre National de la Photographie, Paris, France
“Fotografische Bilder.” Deutscher Künstlerbund, Forum Böttcherstraße, Bremen, Germany
“Andreas Müller-Pohle: Transformance.” Galeria Fotografii Elementarnej, Lądek Zdrój, Poland
“Andreas Müller-Pohle: Transformance.” Espai F, Granollers/Barcelona, Spain

“Andreas Müller-Pohle: Transformance.” Museu da Imagem e do Som, São Paulo, Brazil
“Andreas Müller-Pohle: Transformance.” Funarte, Rio de Janeiro, Brazil
“Polaroid Collection – Selections 3.” photokina, Cologne, Germany
“Himmelsschreiber: Dimensionen eines flüchtigen Mediums.” Kunstverein Kassel, Germany
“Foco 86.” Circulo de Bellas Artes, Madrid, Spain
“Andreas Müller-Pohle: Transformance.” Galeria Foto-Medium-Art, Wroclaw, Poland
“Andreas Müller-Pohle: Transformance.” Hasselblad Gallery, Göteborg, Sweden
“Fotografie: Abbildung? Einbildung?.” Museum am Ostwall, Dortmund, Germany
“Andreas Müller-Pohle: Transformance.” Galeria Agorà, Turin, Italy
“Fotografia Elementarna.” Galeria Sztuki Wspólczesnej, Szczecin, Poland

“II Jornades Fotogràfiques a València.” Valencia, Spain
“Andreas Müller-Pohle: Transformance.” Galerie für Fotografie Jutta Rössner, Stuttgart, Germany
“New Photographic Trends from Europe.” Malmö Konsthall, Malmö, Sweden
“Das Aktfoto. Ansichten vom Körper im fotografischen Zeitalter.” Museum moderner Kunst, Vienna, Austria
“Andreas Müller-Pohle: Transformance.” Photo-Galerie 52, Luxemburg
“Das Aktfoto. Ansichten vom Körper im fotografischen Zeitalter.” Münchner Stadtmuseum, Munich, Germany
“Andreas Müller-Pohle: Transformance.” Fotoforum Bremen, Bremen, Germany
“Zeitgenössische deutsche Fotografen.” Museum für Photographie, Brunswick, Germany
“The European Edge – New Photographic Trends from Europe.” Museum of Photographic Arts, San Diego, California, USA

“La Photographie créative.” Bibliothèque Nationale/Pavillon des Arts, Paris, France
“Fünf Fotografen. Andreas Müller-Pohle, Floris Michael Neusüss, Loni Liebermann, Jaschi Klein, Ulrich Tillmann.” Kunstverein Langenhagen, Germany
“Contemporary European Photography.” Benteler Galleries, Houston, Texas, USA
“Andreas Müller-Pohle: Transformance.” Casa do Infante, Porto, Portugal
“Contemporary German Photographers.” Santa Fe Center for Photography, Santa Fe, New Mexico, USA
“5.os Encontros de Fotografia de Coimbra.” Edificio Chiado, Coimbra, Portugal

“Andreas Müller-Pohle: Transformance.” Galerie Studio 666, Paris, France
“Photographie in Deutschland: heute.” Het Wapenschild, Antwerp, Belgium
“Zeitgenössische europäische Fotografie.” Museum zu Allerheiligen, Schaffhausen, Switzerland
“Photographie in Deutschland: heute.” Musée de la Photographie, Charleroi, Belgium
“Andreas Müller-Pohle: Transformance.” Galerie Perspektief, Rotterdam, Netherlands
“57 Fotografi Contemporanei Europei.” Palazzo Novellucci, Prato, Italy
“Bugünün Avrupa Fotografi / European Photography Today.” Dost Sanat Ortami, Ankara, Turkey
“Photographie in Deutschland: heute.” Cultureel Centrum, Hasselt, Belgium
“Fotografie ’83.” Stadthalle Wien, Vienna, Austria
“European Photography.” Benteler Galleries, Houstpn, Texas, USA
“Photographie in Deutschland: heute.” Koninklijke Akademie voor Schone Kunsten, Ghent, Belgium
“La mirada seducida.” Galeria Forum, Tarragona, Spain
“Andreas Müller-Pohle: Transformance.” Camera Obscura Gallery, Stockholm, Sweden

“International Photographers.” Eaton/Shoen Gallery, San Francisco, California, USA
“Andreas Müller-Pohle: Extractions und Konstellationen.” Galerie Pro Photo, Nuremberg, Germany
“European Photography: Recovering our Face through the Image.” 3rd Meeting per l’Amicizia fra i Popoli, Rimini, Italy
“Andreas Müller-Pohle: Photographs.” Benteler Galleries, Houston, Texas, USA
“Andreas Müller-Pohle: Fotografien.” Galerie Foto Art Karin Steins, Frankfurt/Main, Germany

“Eight Contemporary European Photographers.” Rice Media Center, Houston, Texas, USA
“New German Photography.” Royal Photographic Society, Bath, United Kingdom
“Erweiterte Fotografie.” 5. Internationale Biennale, Wiener Secession, Vienna, Austria
“New German Photography.” Gallery of Photography, Dublin, United Kingdom
“Andreas Müller-Pohle: Konstellationen/Extractions.” Galerie Renner, Munich, Germany
“Aspekte zeitgenössischer deutscher Fotografie.” PPS-Galerie, Hamburg, Germany
“New German Photography.” The Rochdale Art Gallery, Rochdale, United Kingdom
“Andreas Müller-Pohle: Konstellationen/Extractions.” Forum Stadtpark, Graz, Austria
“Andreas Müller-Pohle: Konstellationen/Extractions.” Galerie Novum, Hanover, Germany
“New German Photography.” Open Eye Gallery, Liverpool, United Kingdom
“New German Photography.” The Photographic Gallery, Cardiff, United Kingdom
“Drei Fotografen: Larry Fink, Andreas Müller-Pohle, Michael Schmidt.” Kunstmuseum Düsseldorf, Germany
“Andreas Müller-Pohle: Konstellationen/Extractions.” Galerie Ruth Remus, Dusseldorf, Germany
“Abstraction and Reality.” Galleria Flaviana, Locarno, Switzerland
“Andreas Müller-Pohle: Fotografie.” Salzburg College Gallery, Salzburg, Austria
“New German Photography.” Photographers’ Gallery, London, United Kingdom
“Imaginación y Realidad – 7 aspectos de la fotografía subjetiva.“ Instituto Alemán, Madrid, Spain

“Imaginação e Realidade – 7 aspectos da fotografia subjetiva.” Galeria JN, Porto, Portugal
“Imaginação e Realidade – 7 aspectos da fotografia subjetiva.” Instituto Alemao, Lisbon, Portugal
“Vorstellungen und Wirklichkeit – 7 Aspekte subjektiver Fotografie.” Fundació Miró, Barcelona, Spain
“Vorstellungen und Wirklichkeit – 7 Aspekte subjektiver Fotografie.” Künstlerhaus Wien, Vienna, Austria
“Vorstellungen und Wirklichkeit – 7 Aspekte subjektiver Fotografie.” Städtisches Museum Leverkusen, Germany

“Andreas Müller-Pohle: Fotografien.” Work Gallery, Zurich, Switzerland
“Andreas Müller-Pohle: Fotografien.” Art Studio, Cologne, Germany

“Andreas Müller-Pohle: Konstellationen.” Galerie Krebaum, Weinheim, Germany
“Andreas Müller-Pohle: Konstellationen.” Galerie Trockenpresse, Berlin, Germany
“Fotografie im Künstlerhaus.” Künstlerhaus Göttingen, Germany

Books and Monographic Catalogues

Andreas Müller-Pohle: Mers et rivières. Edited by Gilles Mora, with texts by Gilles Mora, Hubertus von Amelunxen and Andreas Müller-Pohle. Paris: Editions Hazan, 2021

Andreas Müller-Pohle: Hong Kong Waters. With an introduction by Oscar Ho. Heidelberg: Kehrer Verlag / Hong Kong: Asia One Books, 2013

Andreas Müller-Pohle: The Danube River Project. With an essay by Ivaylo Ditchev. Berlin: Peperoni Books, 2008

andreas muellerpohle – photo/video/sound 1995–2006. Erlangen: Städtische Galerie, 2006 (DVD)

Andreas Müller-Pohle: codeZone. Digital Works 1995–2005. With an essay by Gu Zheng. Shanghai: Aura Gallery, 2005

Andreas Müller-Pohle: CodeZone. Digitale Arbeiten 1995–2003. Braunsschweig: Museum für Photographie, 2003

Andreas Müller-Pohle: Yumiko. Portland: Nazraeli Press, 2003

Andreas Müller-Pohle: Interfaces. Foto+Video 1977–1999. Edited by Hubertus von Amelunxen. Göttingen: European Photography, 1999 (German/Englisch)

Andreas Müller-Pohle: Digitális Partitúrák III. With a preface by László Beke and essays by Florian Rötzer and Andreas Müller-Pohle. Budapest: Mücsarnok / Art Hall, 1998 (Hungarian/German)

Andreas Müller-Pohle: Synopsis. With an essay by A.D. Coleman. Atlanta/Houston: Goethe Institutes, 1997 (English)

Andreas Müller-Pohle: Synopsis. With an essay by A.D. Coleman. Québec: Vu – Centre de la Photographie, 1997 (French)

Andreas Müller-Pohle: Partitions digitales I (d’après Niépce). With an essay by Florian Rötzer. Paris: Galerie Condé, 1997 (French/German)

Andreas Müller-Pohle: Perlasca Pictures. With an essay by Hubertus von Amelunxen. Hildesheim: Kunstverein Hildesheim, 1995 (German)

Andreas Müller-Pohle: Signa. With an essay by Carl Aigner. Vienna: Fotogalerie Wien, 1992 (German/English)

European Photography Award. Edited by Andreas Müller-Pohle. Göttingen: European Photography, 1991, 1992, 1993 (German/English)

Andreas Müller-Pohle: Was ich nicht sehe, fotografiere ich. Was ich nicht fotografiere, sehe ich. Arbeiten 1976–1991. With a preface by Ullrich Wallenburg and an essay by Vilém Flusser. Cottbus: Brandenburgische Kunstsammlungen, 1991 (German)

Andreas Müller-Pohle: Transformance. With an essay by Vilém Flusser. Göttingen: European Photography, 1983 (German/English)

Fotografie in Europa heute (Dumont Foto 4). Edited by Andreas Müller-Pohle. Cologne: DuMont Buchverlag, 1982 (German)

Andreas Müller-Pohle: Aus dem Zyklus “Konstellationen.” Göttingen: Self-published, 1978

Selected Writing

“Künstlich intelligente Bilderwelt / Artificially Intelligent Image World.” European Photography, Berlin, no. 114, Winter 2023/2024. – Polish translation: “Świat Obrazów Sztucznej Inteligencji.” Kwartalnik Fotografia, Września, no. 44, March 2024. – Chinese translation: “人工智能图像世界.” Chinese Photography, Beijing, no. 2, February 2024. –

“Human/Nature.” European Photography, Berlin, no. 111, Summer 2022

“Black-and-White as a Code.” European Photography, Berlin, no.110, Winter 2021/2022

“Photography in Real-Time.” European Photography, Berlin, no. 107/108, 2020

“Talking Photography. 100 Pictures that Tell a Story.” European Photography, Berlin, no. 100, Winter 2016/2017

“Code”, “Immatrix Publications”. Siegfried Zielinski, Peter Weibel, Daniel Irrgang (eds.): Flusseriana. An Intellectual Toolbox. Karlsruhe: ZKM | Center for Art and Media, 2015

“Retro-Photography.” European Photography, Berlin, no. 94, Winter 2013/2014

“A Few Words On German Photography.” Monthly Photography, Seoul, no. 536, September 2012

“Photography, the Enemy of Privacy.” European Photography, Berlin, no. 90, Winter 2011/2012

“Net Photography.” European Photography, Berlin, no. 88, Winter 2010/2011

“La Dimension photographique / The Photographic Dimension.” Rik Gadella (ed.): Paris Photo 1997. Paris: IPM, 1997

“Concepts de la photographie allemande après 1945.” Une aventure contemporaine, la photographie 1955–1995. Paris: Éditions Paris Audiovisuel, 1996

“La dimensión fotográfica. Estrategias contemporáneas en el arte.” Papel Alpha, Salamanca, no. 1, 1996

“A dimensión fotográfica. Estratexias contemporáneas na arte.” Manuel Vilariño (ed.): A Fotografía na arte contemporánea. A Coruña: Centro Galego de Artes da Imaxe, 1996

“Analogisieren, Digitalisieren, Projizieren.” Hubertus von Amelunxen et al. (eds.): Fotografie nach der Fotografie. Basel: Verlag der Kunst/G+B Arts, 1995. – English translation: “Analog, Digital, Projective.” Hubertus von Amelunxen et al. (eds.): Photography after Photography. Amsterdam: Overseas Publishers Association, 1996. – Portuguese translation: “Analógico, Digital, Projetivo.” Rosângela Rennó (ed.): A última foto. Sao Paulo: Galeria Vermelho, 2006

“Die fotografische Dimension.” Kunstforum International, Cologne, no. 129, January–April 1995

“The Photographic Dimension.” European Photography, Göttingen, no. 53, Spring/Summer 1993

“European Photography.” ICI Photography Awards 1992. Bradford: National Museum of Photography, Film and Television, 1992

“Inszenierende Fotografie.” Andreas Müller-Pohle (ed.): Inscenizacje. Wspólczesna fotografia w Republice Federalnej Niemiec. Warsaw: Stara Galeria ZPAF, 1988. – English translation: “Photography as Staging.” European Photography, Göttingen, no. 34, April/May/June 1988

“Le hasard concretise.” Photographies, Paris, no. 7, May 1985

“Information Strategies.” European Photography, Göttingen, no. 21, January/February/March 1985. – Portuguese translation: “Estratégias de informação.” Boletim, Universidade de São Paulo, no. 3, May 2009. – Estonian translation: “Infostrateegiad.” In: Peeter Linnap (ed.): Silmakirjad 2. Tartu: Tartu Art College, 2009

“Project Photography.” European Photography, Göttingen, no. 13, January/February/March 1983

“Visualism.” European Photography, Göttingen, nr. 3, July/August/September 1980. – Italian translation: “Visualismo.” Rivista di storia e critica della fotografia, Turin, no. 2, 1981. – Greek translation: “Visualism.” Photographia, Athens, no. 11, January/February 1991. – Republished in: Hubertus von Amelunxen (ed.): Theorie der Fotografie IV, 1980–1995. Munich: Schirmer/Mosel Verlag, 2000. – Czech translation: “Vizualismus.” Notebook for Art, Theory and Related Zones, Prague, no. 13, 2012

“Über das Licht. Aspekte einer fotografischen Lichtästhetik.” Dumont Foto 2. Cologne: DuMont Buchverlag, 1980

“Series – Cycle – Sequence – Tableau.” European Photography, Göttingen, no. 1, January/February/March 1980

“Die zweite Avantgarde der Fotografie.” Fotografie, Riesweiler, nr. 7, 1978. – Spanish translation: “La segunda Vanguardia de la Fotografia.” Foto-Dossier, Barcelona, 1979

“Was ist Fotografie? – Versuch einer Annäherung.” Fotografie, Riesweiler, no. 5, 1978

Works in Books, Catalogues, Encyclopedias

Liz Wells: Photography, Curation, Criticism. An Anthology. London/New York: Routledge, 2024

Héloïse Conésa (ed.): Épreuves de la matière. La photographie contemporaine et ses métamorphoses. Paris: Bibliothèque nationale de France / the(M) éditions, 2023

Frances McDonald: Posthumorism. The Modernist Affect of Laughter. London: Bloomsbury Academic, 2022

Stephan Spohr: Die Fotografie im Zeitalter der Digitalisierung. Ästhetik, Epistemologie und Semiotik der Fotografie im Wandel vom analogen zum digitalen Verfahren. Weimar: VDG – Verlag und Datenbank für Geisteswissenschaften, 2022

Geoffrey Batchen: Negative/Positive. A History of Photography. London/New York: Routledge, 2021

Francesca Bulian: Source Code as Image. In: Philippe Kaenel/Kirsty Bell (eds.): Reproducing Images and Texts / La reproduction des images et des textes. Leiden/Boston: Brill, 2021

Białystok Interphoto 2021. International Photography Festival. Białystok: Interphoto, 2021

Gregor Eggenberger: Alles ist Fotografie / Everything is Photography. Vienna: Österreichisches Institut für Photographie und Medienkunst, 2020

Michelle Debat: La photographie: essai pour un art indisciplinable. Saint-Denis: Presses Universitaires de Vincennes, 2020

Schupmann Collection. Fotografie in Westdeutschland / Photography in West Germany. Petersberg: Michael Imhof Verlag, 2020

Yanai Toister: Photography from the Turin Shroud to the Turing Machine. Bristol/Chicago: Intellect, 2020

Edgar Lissel, Gabriele Jutz, Nina Jukić (eds.): Reset the Apparatus! A Survey of the Photographic and the Filmic in Contemporary Art. Berlin/Boston: Walter de Gruyter, 2019

Inga Remmers: Politische Landschaften der Natur. Fotografie des Anthropozäns. Weimar: Jonas Verlag, 2018

Ulrich Pohlmann, Christina Leber (eds.): Land_Scope. Photographic Works from Roni Horn to Thomas Ruff in the DZ Bank Art Collection. Cologne: Snoeck Verlagsgesellschaft, 2018

Philipp Goldbach: Foto/Grafie. Motiv und Metapher der Schrift in der Fotografie. Paderborn: Verlag Wilhelm Fink, 2018

Anne Alessandri, Philippe Costamagna (eds.): Naturel Pas Naturel. Milan: Silvana Editoriale, 2018

Christian Gattinoni, Yannick Vigouroux: Histoire de la critique photographique. Paris: Nouvelles Éditions Scala, 2017

Michelle Debat, Paul-Louis Roubert (eds.): Quand l’image agit! À partir de l’action photographique. Filigranes Éditions, 2017

Marc Lenot: Jouer contre les appareils. De la photographie expérimentale. Arles: Éditions Photosynthèses, 2017

Paul Poley (ed.): Ship 2040. Pioneers in the Maritime Sector. Rotterdam:, 2017

Peter Weibel: Photography and the Administration of Data. In: Watched! Surveillance, Art and Photography. Cologne: Verlag der Buchhandlung Walther König, 2016

Steffen Siegel: Gegenbilder – Counter-Images. In: Carl Aigner, Nela Eggenberger (eds.): 5×5 Photo Tracks. 25 Years of Eikon. Vienna: Eikon/, 2016

Uta Dietrich (ed.): Thrive Global: People, Planet and Participation – A Folio of Art and Text.  Kuala Lumpur: United Nations University, 2016

Gunther Dietrich, Tomás Rodriguez (eds.): Concrete and Generative Photography 1960-2014. Berlin: Photo Edition Berlin, 2016

Tatyana Franck: The Memory of the Future. Photographic Dialogues Between Past, Present and Future. Lausanne: Musée de l’Élysée/Les Éditions Noir sur Blanc, 2016

Geoffrey Batchen: Emanations. The Art of the Cameraless Photograph. Munich-London-New York: Prestel, 2016

Siegfried Zielinski, Daniel Irrgang (eds.): Bodenlos – Vilém Flusser und die Künste. Berlin: Akademie der Künste, 2015

Chen Jianbo (ed.): Photography as Life. Lishui: China Nationality Art Photograph Publishing House, 2015

Ortrud Westheider, Michael Philipp (eds.): Über Wasser. Malerei und Photographie von William Turner bis Olafur Eliasson. Hamburg: Bucerius Kunst Forum, 2015

Martin Parr, WassinkLundgren (eds.): The Chinese Photobook. From the 1900s to the Present. New York: Aperture, 2015

Henrike Holsing, Gottfried Jäger (eds.): Lichtbild und Datenbild – Spuren Konkreter Fotografie / Light Image and Data Image – Traces of Concrete Photography. Heidelberg: Kehrer Verlag, 2015

Éléonore Challine, Laureline Meizel, Michel Poivert (eds.): L’expérience photographique. Histo.Art–6. Paris: Publications de la Sorbonne, 2014

Florian Ebner/Sophia Greiff: (Mis)Understanding Photography. Werke und Manifeste. Essen: Museum Folkwang, 2014

Christoph Tannert (ed.): Berlin Art Scene. Hilden: Becker Joest Volk Verlag, 2014

Duan Yuting (ed.): Farewell to Experience. Lianzhou Foto 2013. Lianzhou: Posts & Telecom Press, 2013

Claudia Giannetti (ed.): Something Other Than Photography: Photo & Media. Oldenburg: Edith-Russ-Haus for Media Art, 2013

Peter Coates: A Story of Six Rivers. History, Culture and Ecology. London: Reaktion Books, 2013

L’objet photographique, une invention permanente. Texts by Anne Cartier-Bresson. Arles: Photo Poche/Actes Sud, 2012

Sense of Place. European Landscape Photography. Munich/London/New York: Prestel Publishing, 2012

Wim Melis/Ton Broekhuis (eds.): Metropolis – City Life in the Urban Age. Groningen: Noorderlicht Photofestival, 2011

Stephen Barber/Michael Benson (eds.): Growth. Prix Pictet 2011. Kempen: te Neues Verlag, 2011

Wolf Lieser: Digital Art. Neue Wege in der Kunst. Potsdam: h.f.ullmann/Tandem Verlag, 2010

Sylvia Wolf: The Digital Eye. Photographic Art in the Electronic Age. Munich-Berlin-London-New York: Prestel, 2010

Michel Poivert: La photographie contemporaine. Paris: Flammarion, 2010

Athens Photo Festival 09. Athens: Hellenic Centre for Photography, 2009

Landskab/Landscape. Odense: Museet for Fotokunst, 2009

Wolf Lieser: Digital Art. Potsdam: h.f.ullmann/Tandem Verlag, 2009

3. Europäischer Monat der Fotografie Berlin. Berlin: Kulturprojekte Berlin, 2008

Hans Dickel/Lisa Puyplat/Karl Manfred Fischer (eds.): 100 Meisterwerke zeitgenössischer Druckgraphik und Beispiele der Photographie aus der Sammlung der Städtischen Galerie Erlangen. Berlin: Dietrich Reimer Verlag, 2007

Urs Meyer/Roberto Simanowski/Christoph Zeller (eds.): Transmedialität. Zur Ästhetik paraliterarischer Verfahren. Göttingen: Wallstein Verlag, 2006

Andreas Krase/ Agnes Matthias (eds.): Wahr-Zeichen. Fotografie und Wissenschaft. Dresden: Technische Sammlungen Dresden. Museen der Stadt Dresden, 2006

Roberta Valtorta (ed.): Alterazioni. Le materie della fotografia tra analogico e digitale. Milan: Museo Fotografia Contemporanea, 2006

Silke Helmerdig/Martin Scholz: Ein Pixel, Zwei Korn. Grundlagen analoger und digitaler Fotografien und ihre Gestaltung. Frankfurt/Main: Anabas-Verlag, 2006

Václav Macek: Bratislava by the Backdoor 1918–2005. Bratislava: Fotofo, 2005

Roberta Valtorta: Volti della fotografia. Scritti sulla trasformazione di un’arte contemporanea. Milan: Skira editore, 2005

4 Biennale Fotografii. Poznan: Galeria Miejska “Arsenal”, 2005

Steve Crist (ed.): The Polaroid Book. Selections from the Polaroid Collections of Photography. Cologne: Taschen, 2005

Gottfried Jäger/Rolf H. Krauss/Beate Reese: Concrete Photography / Konkrete Fotografie. Bielefeld: Kerber Verlag, 2005

Kürschners Handbuch der Bildenden Künstler. Deutschland, Österreich, Schweiz. Munich–Leipzig: K. G. Saur Verlag, 2005

Mesiac fotografie / Month of Photography 2004. Bratislava: Fotofo, 2004

Encontros da Imagem. Metamorfoses do Real. Braga: Encontros da Imagem, 2004

p0es1s. Digital Poetry. Exhibition Guide, Kulturforum Potsdamer Platz. Berlin: literaturWERKstatt berlin, 2004

Christiane Paul: Digital Art. London-New York: Thames & Hudson, 2003

Hans-Michael Koetzle: Das Lexikon der Fotografen. 1900 bis heute. Munich: Knaur, 2002

Reinhold Mißelbeck (ed.): Prestel-Lexikon der Fotografen. Von den Anfängen 1839 bis zur Gegenwart. Munich: Prestel Verlag, 2002

Gottfried Jäger (ed.): Die Kunst der Abstrakten Fotografie / The Art of Abstract Photography. Stuttgart: Arnoldsche Verlagsanstalt, 2002

FotoFest 2002. The Classical Eye & Beyond: New Technology, Mixed Media, Classical Photography. Houston: FotoFest, Inc., 2002

Vilém Flusser: Una filosofía de la fotografía. Madrid: Editorial Síntesis, 2001

ex machina: Über die Zersetzung der Fotografie. Berlin: Neue Gesellschaft für Bildende Kunst, 2001

Schupmann Collection. Fotografie in Deutschland nach 1945. Brunswick: Museum für Photographie, 2001

Geoffrey Batchen: Each Wild Idea. Writing, Photography, History. Cambridge: The MIT Press, 2001

Photosynkyria 2000. Thessaloniki: Thessaloniki Museum of Photography, 2000

Aires: Luz y Sombra de Las Palmas de Gran Canaria. Las Palmas: Centro Atlantico de Arte Moderno, 1999

Nationalgalerie Berlin (ed.): Das XX. Jahrhundert. Ein Jahrhundert Kunst in Deutschland. Berlin: Nicolaische Verlagsbuchhandlung, 1999

Rencontres Internationales de la Photographie (ed.): Vive les modernités! Arles: Actes Sud, 1999

Macedonian Museum of Contemporary Art. The Permanent Collection. Volume II/Photography. Thessaloniki: Macedonian Museum of Contemporary Art, 1999

Johan Swinnen (ed.): Attack! Photography on the Edge. Antwerpen: Uitgeverij Houtekiet, 1999

Luminita Sabau (ed.): Das Versprechen der Fotografie. Die Sammlung der DG Bank. Munich: Prestel Verlag, 1998

Leo Reijnen (ed.): 14th World Wide Video Festival. The Hague: Stichting World Wide Video Centre, 1996

Milena Slavická (ed.): Výtvarné umení / The Magazine for Contemporary Art. Vilém Flusser Issue. Prague, 1996

Photosynkyria 96. Thessaloniki: Camera Obscura, 1996

Hubertus von Amelunxen / Stefan Iglhaut / Florian Rötzer (eds.): Photography after Photography. Amsterdam: Overseas Publishers Association, 1996

Ulrike Gauss/Barbara Hofmann/Klaus Honnef/Reinhold Mißelbeck: Deutsche Kunst mit Photographie. Die 90er Jahre. Frankfurt/Main: Deutsche Fototage, 1996

Martin Marix Evans (ed.): Contemporary Photographers. 3rd edition. Detroit: St. James Press, 1995

B. Martin Pedersen (ed.): Shoreline. Zurich: Graphis, 1995

International Meetings of Photography. Plovdiv: Photographic Centre, 1994

Mai de la Photo. Reims: Priorité Ouverture, 1994

Wiederbegegnung. Marburg: Marburger Kunstverein, 1993

Deutsche Kunst mit Photographie: Die 90er Jahre. Frankfurt: Deutsche Fototage, 1993

Première Photo. Paris: Galerie du Jour Agnès B., 1992

Gilles Mora (ed.): L’Échappée européenne / Der europäische Ausbruch. Paris–Lasclèdes: Les Cahiers de la Photographie, 1992

Gottfried Jäger: Fotoästhetik. Zur Theorie der Fotografie. Texte aus den Jahren 1965 bis 1990. Munich: Verlag Laterna Magica, 1991

John Stathatos (ed.): The Persistence of Memory. Third Israeli Biennale of Photography. Ein Harod: Mishkan Le’Omanut, Museum of Art, 1991

Gottfried Jäger/Jutta Hülsewig-Johnen (eds.): Das Foto als autonomes Bild – Experimentelle Gestaltung 1839–1989. Stuttgart: Edition Cantz, 1989

Jörg Boström (ed.): Dokument und Erfindung – Fotografien aus der Bundesrepublik Deutschland 1945 bis heute. Berlin: Edition Q, 1989

Fotovision. Projekt Fotografie nach 150 Jahren. Hannover: Sprengel Museum, 1988

Gottfried Jäger: Bildgebende Fotografie. Cologne: DuMont Buchverlag, 1988

Petra Benteler (ed.): Photographie 1945–1985. Hamburg: Museum für Kunst und Gewerbe, 1987

Selections 3. Schaffhausen: Verlag Photographie, 1986

L’Albufera – Visió Tangencial. Valencia: Generalitat Valenciana, 1985

Michèle & Michel Auer: Photographers Encyclopaedia International, 1839 to the present. Hermance: Editions Camera Obscura, 1985

Jean-Claude Lemagny: La Photographie créative. Paris: Contrejour, 1984

Giovanni Chiaramonte (ed.): Fotografia Europea Contemporanea. Milan: Jaca Book, 1983

Photographie in Deutschland: Heute. Antwerp: Koninklijke Akademie voor Schone Kunsten, 1983

George Walsh et al.: Contemporary Photographers. London: Macmillan Publishers, 1982

Carole Naggar: Dictionnaire des photographes. Paris: Editions du Seuil, 1982

Internationales Fotosymposion 1981: Ist Fotografie Kunst? Gehört Fotografie ins Museum? Munich: Mahnert-Lueg Verlag, 1982

Jörg Krichbaum: Lexikon der Fotografen. Frankfurt: Fischer Verlag, 1981

Peter Weibel/Anna Auer (eds.): Erweiterte Fotografie / Extended Photography. 5. Internationale Biennale. Vienna: Wiener Secession, 1981

Petra Benteler (ed.): Photography Europe 1. Houston: Benteler Galleries, 1981

Hugo Schöttle (ed.): Dumont Foto 2. Cologne: DuMont Buchverlag, 1980

Rolf Wedewer (ed.): Vorstellungen und Wirklichkeit – 7 Aspekte subjektiver Fotografie. Cologne: Wienand Verlag, 1980

Selected Reviews, Interviews and Magazine Publications

Katalain Kopin: “Az Értől az Oceánig!” Fotóművészet, Budapest, no. 1, 2023

Liz Wells: “Critical Environments and Photographic Investigations.” Photo Researcher, no. 32, 2019
Paula Gortázar: “Toward an Emancipation of Photographic Vision: ‘Visualism’ Under Czechoslovakian ‘Normalization’ (1968–89).” Photography & Culture, Abingdon, no. 2, 2019

Bernard Stiegler: “The Spirit of Enlightenment in the Age of Philosophical Engineering.” Moscow Art Magazine, Moscow, no. 106, 2018

Nick Thorpe: “The Danube – Shape Shifting River.” Smithsonian Journeys, Washington, D.C., Summer 2016

Geoffrey Batchen: “Apparitions. La matérialité de l’image photographique.” Patrimoines, Paris, no. 11, 2015
Muriel Berthou Crestey: “Recyclages photographiques.” Genesis, Paris, no. 40, 2015
Jürgen Rink: “Andreas Müller-Pohle.” c’t Digitale Fotografie, Hanover, no. 3, 2015

Boris von Brauchitsch: “Andreas Müller-Pohle: Hong Kong Waters.” Eikon, Vienna, no. 84/85, 2014
Isabel Florêncio-Pape: “Andreas Müller-Pohle: Poesia visual e de-figuração / Visual Poetry and U-Figuration.” Aletria – Revista de Estudos de Literatura, Belo Horizonte, Brazil, no. 2, 2014
Richard Bakeš: “Na krásném hnědém Dunaji.” Rajon, Prague, no. 4, 2014
Jan H. Vitvar: “Ve jménu manipulované reality.” Respekt, Prague, no. 35, 2014
Josef Moucha: “Andreas Müller-Pohle ve zkratce.” Atelier, Prague, no. 18, 2014
“Positionen der Abstraktion – Andreas Müller-Pohle.” In: Kathrin Schönegg, Bernd Stiegler (ed.): “Abstrakte Fotografie.” Fotogeschichte, Marburg, no. 133, 2014

Hans-Michael Koetzle: “Untergang des Morgenlandes.” Photo International, Munich, November/December 2013
Ji Hyun Kwon: 안드레아스 뮬러 폴레. Interview. Photo Art magazine, Seoul, no. 12, 2013
“Auf der Wasserlinie.” Der Bund, Bern, 19 October 2013
Ulf Erdmann Ziegler: “Der Horizont ist nur eine Idee. Hong Kong Waters in einem neuen Fotoband von Andreas Müller-Pohle.” Monopol, Berlin, October 2013
“Hongkong unter und über Wasser.” Vice, 27 September 2013
Gregor Auenhammer: “Im Zwischen aquatischer Tiefen und Untiefen.” ÖkoStandard, Vienna, 22 September 2013
“Andreas Müller-Pohle: Hong Kong Waters.” doc!, September 2013
“Something in the Hong Kong Waters.” Art Radar Asia, 23 August 2013
“Fotos aus Hongkong: Nah am Wasser gebaut.” ZEIT Online, 18 July 2013
“Andreas Müller-Pohle | Hong Kong Waters | Kehrer Verlag.” Smart Magna, 3 June 2013
“Disambiguation – Hong Kong Waters.” Scopio, Porto, April 2013

“Andreas Müller-Pohle: Transformance | Vilém Flusser: Handlungen.” Philosophy of Photography, London, no. 2, 2012

“Sie sind fluid, geschmeidig.” Interview by Ronald Berg. Die Tageszeitung, Berlin, 17/18 December 2011

“30 Years of European Photography.” Interview by Peter Kunitzky. Eikon, Vienna, no. 69, 2010
Andreas Müller-Pohle: “Atomic Laughter.” The Outlook Magazine, Shanghai, no. 93, 2010

Lajos Adamik: “Intim felvételek egy síkostestü óriásról / The Danube River Project.” Balkon, Budapest, no 7/8, 2008
“Komplexes Bild vom großen Strom.” Photo International, Munich, no. 6, 2008
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
“Über Wasser und unter Wasser. ‘The Danube River Project’ des Fotografen Andreas Müller-Pohle.” Göttinger Tageblatt, Göttingen, 1 October 2008
Erwin Riess: “Fluss, Schiff, Fahrt.” Die Presse, Vienna, 30 August 2008
Boris von Brauchitsch: “Flussabwärts durch zehn Länder.” Kunst und Auktionen, Munich, no. 14, 2008
Wenzel Müller: “Aus der Fischperspektive. The Danube River Project: Die Donau einmal anders gesehen.” Ärzte Woche, Vienna, no. 20, 2008
Ronald Berg: “Andreas Müller-Pohle: The Danube River Project.” Eikon, Vienna, no. 62, 2008
“Wasserkanten. The Danube River Project – Andreas Müller-Pohle.” p3 Print Picture Passion, Meerbusch, no. 1, 2008
Enno Kaufhold: “Andreas Müller-Pohle. The Danube River Project.” Photonews,
Hamburg, no. 4, 2008
Marc Peschke: “In Donauwellen.” Photoscala, Internationales Online-Magazin für Photographie, 23 February 2008
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

Karin Derstroff: “Die Poesie des Flusses. Andreas Müller-Pohles ‘Danube River Project’ im Stadtmuseum Ingolstadt.” Donau-Kurier, Ingolstadt, 19 July 2007

Gabriele Mayer: “Das geheimnisvolle Klirren des Wassers am Donaumarkt. Andreas Müller-Pohles Medieninstallation.” Mittelbayerische Zeitung, Regensburg, 20 October 2006
Katarína Gatialová: “Z vody von. Iný pohl’ad Andreasa Müller-Pohleho.” Domino, Bratislava, 28 July 2006
Helmut Pusch: “Durchs Fischauge gesehen. Andreas Müller-Pohles ‘Danube River Project’.” Südwest Presse, Ulm, 29 March 2006
Bozhidara Georgieva: “. . . and the Danube flows on.” Bulgaria Air Inflight Magazine, Sofia, nr. 32, 2006
Roman Schmidt: “Blue Danube. Andreas Müller-Pohle’s ‘Danube River Project’.” Eikon, Vienna, nr. 54, 2006

Bogna Blazewicz: “Kod zycia – kod sztuki.” Gazeta Malarzy i Poetów, Poznan, nr. 3, 2005
Marianna Michalowska: “Pochwala eksperymentowania.” Gazeta Malarzy i Poetów, Poznan, nr. 3, 2005
“Interfaces – or the Face out of Sight. Andreas Müller-Pohle’s Face Codes.” Fotografia, Wrzesnia, Poland, nr. 18, 2005
Pavel Turek: “Jednosmerné cesty.” Zivel, Prague, nr. 25, 2005

“Developing European Contacts.” Interview by Ronald Berg. Eikon, Vienna, nr. 46, 2004
Ronald Berg: “codeZone. Digitale Arbeiten von Andreas Müller-Pohle.” Kunstforum International, Cologne, nr. 168, January–February 2004

Ronald Berg: “Die Macht der Pixel.” Die Tageszeitung, Berlin, 17 November 2003
“Arta de a distinge intre realitate si fictiune.” Interview by Marius Stefanescu. Cotidianul, Bucharest, 4 November 2003
“Digitale Arbeiten von Andreas Müller-Pohle.” a&a, Munich, nr. 3, 2003
Antje Hartmann: “Der Mars ist ein Dorf in Ostdeutschland.” Braunschweiger Zeitung, Brunswick, 17 October 2003
Artphoto, Bucharest, nr. 3, 2003

“Atomic Laughter, the most recent work by Andreas Müller-Pohle.” Artphoto, Bucharest, nr. 1, 2002

Eikon, Vienna, nr. 36/37, 2001
“Andreas Müller-Pohle: Nemurirea digitala.” Interview by Márta Nagy and Lajos Adamik. Balkon, Cluj-Napoca/Romania, nr. 8, September 2001
“Andreas Müller-Pohle: Partitions Digitales III.” Influx, Paris, nr. 2, 2001
Lajos Adamik: “Élet a Marson. Andreas Müller-Pohle: Sojourner II, 1997/99.” Balkon, Budapest, nr. 00/12, 01/01, 2001

Dieter Roelstraete: “Andreas Müller-Pohle, Interfaces.” Obscuur, Gent, nr. 18, December 2000
“Müller-Pohle: Nás svet vizuálne exploduje.” Interview by Jan H. Vitvar. Mladá Fronta/Dnes, Prague, 29 November 2000
“Photographie Deutschland.” Interview by Masafumi Fukagawa. Asahi Camera, Tokyo, nr. 7, July 2000
Paris Photo European Guide, Paris, nr. 8, spring 2000 (cover)
Roberta Valtorta: “Il problema è adeguarsi.” D’Ars, Milan, nr. 161, January 2000

“Los programadores informáticos se han convertido en los literatos de hoy en día.” Interview by Clara Muñoz. La Provincia, Las Palmas de Gran Canaria, 26 December 1999
Matthias Groll: “Ins Universum der visuellen Schnittstellen.” Kunstforum International, Cologne, nr. 146, July–August 1999
Denis Brudna: “Interfaces. Eine Ausstellung von Andreas Müller-Pohle.” Photonews, Hamburg, nr. 4, 1999
Matthias Groll: “Die Sense im Auge.” Die Tageszeitung, Berlin, 10/11 April 1999
Dirk Schwarze: “Bis zur Auflösung der Bilder.” Hessische/Niedersächsische Allgemeine, Kassel, 31 March 1999
Klaus P. Sommer: “Was ich nicht sehe, fotografiere ich.” Göttinger Tageblatt, Göttingen, 29 March 1999
Peter Badge: “Bilder aus dem Schredder.” Hannoversche Allgemeine Zeitung, Hannover, 24 March 1999

Peter Badge: “Entfesselte Kamera.” Berliner Zeitung, Berlin, 16 November 1998
Andreas Müller-Pohle: “Digital Scores.” Creative Camera, London, June/July 1998
“An die Stelle der Wahrheit ist die Wahrscheinlichkeit getreten.” Interview by Peter Badge. Göttinger Tageblatt, Göttingen, 2 June 1998
“Digitális halhatatlanság” (Digital Immortality). Interview by Márta Nagy and Lajos Adamik. Balkon, Budapest, nr. 4, 1998
Beate Lakotta: “Wie real ist ein Pixel?” Spiegel special, Hamburg, nr. 3, 1998
A.D. Coleman: “Andreas Müller-Pohle, Germany.” ARTnews, New York, nr. 2, February 1998

Edward J. Sozanski: “Print Center.” Philadelphia Inquirer, Philadelphia, 21 November 1997
Johannes Birringer: “After Photography? Synopsis by Andreas Müller-Pohle.” Spot, Houston, Fall 1997
Christoph Blase: “Schnipseltanz. Neue Fotografie in Braunschweig.” Frankfurter Allgemeine Zeitung, Frankfurt, 21 November 1997
Peter Badge: “Ein donnerndes Bildgewitter.” Göttinger Tageblatt, Göttingen, 7 November 1997
Thomas Kempf: “Entropia – Rettung durch Vernichtung.” Eikon, Vienna, nr. 21/22, Fall 1997
Yves Abrioux: “Andreas Müller-Pohle.” Untitled, London, nr. 13, Spring 1997
Anthony Georgieff: “Entropia.” Katalog, Odense, nr. 3, Summer 1997
Matthias Groll: “Ekstase des Bildermülls. Andreas Müller-Pohle im Kunstverein Rüsselsheim.” neue bildende kunst, nr. 3, June/July 1997
Kristin Holighaus: “Kleinbilder als Schneegestöber über dem Schredder.” Frankfurter Rundschau, Frankfurt, 3 April 1997
Michael Hoffmann: “Wie Papierschnitzel tanzen. Videoinstallation in Rüsselsheim macht aus Abfall Kunst.” Frankfurter Allgemeine Zeitung, Frankfurt, 2 April 1997
Peter Kämmerer: “Über Untergang und Auferstehung. Andreas Müller-Pohles Videoinstallation ‘Entropia’ in der Rathaus-Rotunde.” Main-Spitze, Rüsselsheim, 15 March 1997

“Ein Bild – Zu den ‘Digitalen Partituren’ nach Nicéphore Niépce (A. Müller-Pohle).” Rundbrief Fotografie, Dresden, nr. 11, 1996
Jean Arrouye: “De Perrudja à Perlasca.” Contretype, Brussels, nr. 49, January/February 1996

Erik Eelbode: “De fotoverbrijzelaar. Andreas Müller-Pohle in Galerie Contretype.” De Morgen, Ghent, 11 December 1995
Hubertus von Amelunxen: “Perlasca Pictures.” Extra Camara, Caracas, nr. 4, July/August/September 1995
Helga Schmalhorst: “Mit reduzierten Zeichen Nerv des Entsetzens wecken.” Hildesheimer Allgemeine Zeitung, Hildesheim, 2 May 1995

Hubertus von Amelunxen: “Andreas Müller-Pohle.” European Photography, Göttingen, nr. 55, Spring/Summer 1994

Hubertus von Amelunxen: “Perlasca Pictures.” Eikon, Vienna, nr. 7/8, 1993
“Galeria expoe Mueller-Pohle.” Folha de São Paulo, São Paulo, 11 May 1993
Luiz Zanin Oricchio: “Andreas instiga a imaginaçao.” Estado de São Paulo, São Paulo, 7 May, 1993
Alain Julliard: “Perlasca Motion Pictures.” Images, Geneva, nr. 2, 1993
Carl Aigner: “Am Nullpunkt der Wahrnehmung. Vom Verschwinden der Bilder.” Wiener Zeitung, Vienna, 5 February 1993

Jean-Claude Lemagny: “Fleuve profond. Sur l’évolution de la création photographique depuis vingt ans.” Art Press, Paris, numero spécial 20 ans, 1992
Klaus U. Reinke: “Kamera-Experimente.” Handelsblatt, Düsseldorf, 10 January 1992

“L’ombre.” La Recherche photographique, Paris, nr. 11, December 1991
Andreas Quappe: “Andreas Müller-Pohle: Die Apparatur schafft ihre eigene Ästhetik.” Märkische Oderzeitung, Frankfurt/Oder, 23 August 1991
Ulf Erdmann Ziegler: “Polaroid-Christo. Über Andreas Müller-Pohle, Aura, Orte und Fotografien.” Die Tageszeitung, Berlin, 19 August, 1991
Ullrich Wallenburg: “Bilder als möglicher Gegenentwurf.” Lausitzer Rundschau, Cottbus, 6 August 1991
“Pohle mostra a grandeza da imagem.” Hoje em Dia, Belo Horizonte, 10 July 1991

“W poszukiwaniu europejskiej tozsamósci” (Interview by Barbara Kosinska and Jan M. Jackowski). Fotografia, Warsaw, nr. 51, January/ February/March 1989
“Ten Years Later.” European Photography, Göttingen, nr. 40, October/November/December 1989

Stefania Bril: “A visita de Andreas Müller-Pohle.” Iris, São Paulo, nr. 399, December 1986
“O fotógrafo Mueller-Phole mostra sua técnica no MIS.” Folha de São Paulo, São Paulo, 8 October 1986
“International issue.” Ovo Magazine, Montréal, nr. 59/60/61, 1986 Olek, Jerzy.
“Summing up the past.” Projekt, Warsaw, nr. 169, July/August 1986
Kulakowska, Józefa. “Poruszony swiat.” Sztandar Myodych, Warsaw, 4 April 1986
“Con pochi elementi e un’abile ‘mossa’ Müller-Pohle dà vita alla fantasia.” Arte, Milan, January 1986

“Les voies de l’abstraction.” Photographies, Paris, nr. 7, May 1985
“Am Anfang war das Chaos.” Tageblatt, Luxemburg, 13/14 April 1985
“Photography: Today/Tomorrow (I).” European Photography, Göttingen, nr. 21, January/February/March 1985

“Andreas Müller-Pohle. Interview von Bas Vroege.” Perspektief, Rotterdam, nr. 18/19, November/December 1984
“Abenteuer aus der freien Hand.” Art, Hamburg, nr. 7, July 1984
Alain D’Hooghe: “Müller-Pohle: Transformance.” Clichés, Brussels, nr. 7, June 1984
José de Sousa Machado: “Andreas Müller-Pohle: A visão crítica do real.” Semanário, Lisbon, 19 May 1984
Susan Zwinger: “Not-So-German Eyes.” The Santa Fe Reporter, Santa Fe, 16 May 1984

Vilém Flusser: “Andreas Müller-Pohle: Transformance.” Photovision, Madrid, nr. 8, July/August/September 1983

Thomas Albright: “International Photography.” ARTnews, New York, nr. 10, December 1982
“Bildunfälle in Schwarzweiß.” Nürnberger Zeitung, Nuremberg, 2 September 1982
Freddy Langer: “‘Ich sehe was, was du nicht siehst.’ Fotografien von Andreas Müller-Pohle.” Frankfurter Allgemeine Zeitung, Frankfurt, 22 February 1982
Manfred Schuchmann: “Licht-Bilder. Andreas Müller-Pohle in der foto-art Galerie.” Frankfurter Rundschau, Frankfurt, 20 February 1982

Allan Porter: “Eine neue deutsche Vision.” Camera, Luzern, nr. 8, August 1981
Rupert Martin: “New German Photography.” European Photography, Göttingen, nr. 5, January/February/March 1981
“Mit Fotos die visuelle Welt verletzen.” Neue Zeit, Graz, 10 June 1981
“Das Sehen lehren.” Hannoversche Allgemeine Zeitung, Hannover, 14 May 1981
Michael Köhler: “Die Kamera als Kunstmedium.” Süddeutsche Zeitung, Munich, 10 März 1981
Dirk Schwarze: “Erst die Serie macht es.” Rheinische Post, Düsseldorf, 21 February 1981

Joan Fontcuberta: “Visualismo.” El Correo Catalan, Barcelona, 2 October 1980
“European Portfolio I.” Printletter, Zürich, nr. 28, July/August 1980
Andreas Müller-Pohle: “Visualism.” European Photography, Göttingen, nr. 3, July/August/September 1980

“Visualismus in Schwarzweiß.” Zoom, Munich, nr. 12, December 1979
“Andreas Müller-Pohle: About visual questioning. Interview by Marco Misani.” Printletter, Zürich, nr.23, September/Oktober 1979
“Andreas Müller-Pohle.” Photographie, Schaffhausen, nr. 1, January 1979

“Zur Geometrie gekappte Realität.” Die Welt, Bonn, 21 August 1978
“Die zweite Avantgarde der Fotografie.” Weinheimer Nachrichten, Weinheim, 1 December 1978
Krichbaum, Jörg. “Fotografie: ein gedanklicher Prozeß.” Fotografie, Riesweiler, nr. 6, 1978

Works in Public Collections

ZKM | Zentrum für Kunst und Medien, Karlsruhe
Hong Kong Heritage Museum, Hong Kong
New Orleans Museum of Art, New Orleans
Hong Kong Arts Centre, Hong Kong
Donauschwäbisches Zentralmuseum, Ulm
Städtische Galerie Erlangen, Erlangen
Fonds régional d’art contemporain, Corsika (Frac Corse)
Museum of Contemporary Photography, Chicago
Centro Atlantico de Arte Moderno, Las Palmas
Macedonian Museum of Contemporary Art, Thessaloniki
Museum of Fine Arts, Houston
Museet for Fotokunst, Odense
DZ Bank Collection, Frankfurt/Main
Brandenburgische Kunstsammlungen, Cottbus
Maison Européenne de la Photographie, Paris
Institut Valencià d’Art Modern, Valencia
San Francisco Museum of Modern Art, San Francisco
Center for Creative Photography, Tucson, Arizona
Prentenkabinet, Rijksuniversiteit te Leiden, Leiden
Sammlung Fotografis Länderbank, Vienna
Musée Cantini, Marseille
Polaroid Collection, Paris
Museum für Kunst und Gewerbe, Hamburg
Bibliothèque Nationale de France, Paris


Master Class, Istituto Europeo di Design, Madrid

Master Class, Istituto Europeo di Design, Madrid

Visiting fellow at Hong Kong Design Institute, Hong Kong

Workshop, Mt. Rokko International Photo Festival, Kobe
Visiting fellow at Hong Kong Design Institute, Hong Kong
Master Class, Istituto Europeo di Design, Madrid

Master Class, Istituto Europeo di Design, Madrid

Master Class, Istituto Europeo di Design, Madrid

Workshop, Hong Kong Art School, Hong Kong

Foundation of Eye-Mind, Berlin

Workshop, Muzeul Literaturii Române / Romanian Literature Museum, Bucharest

Workshop, Goethe-Institut, Bucharest

Workshop, Seian University of Art and Design, Shiga

Workshop, German-Japanese Institute, Kyoto

Workshop, Art Village Center, Kobe

Workshop, Gallery Ississ, Kyoto
Workshop, Kunsthalle Tirol, Hall/Innsbruck

Visiting professor at the Higher Institute for Fine Arts, Antwerp

Workshop, Universidade Federal de Minas Gerais, Belo Horizonte

Workshop, Salzburg College, Salzburg

Workshop, Salzburg College, Salzburg
Seminar, Institut für Publizistik- und Kommunikationswissenschaft, Georg-August-Universität, Göttingen

Seminar, Institut für Publizistik- und Kommunikationswissenschaft, Georg-August-Universität, Göttingen
Workshop, Museu da Imagem e do Som, São Paulo
Workshop, Universidade Federal do Rio Grande do Sul, Porto Alegre
Workshop, Universidade Federal de Minas Gerais, Belo Horizonte
Workshop, Funarte, Rio de Janeiro

Workshop, Salzburg College, Salzburg

Workshop, Salzburg College, Salzburg
Workshop, Universidade Artistica, Porto
Workshop, Centro de Estudos de Fotografia, Coimbra
Workshop, Salzburg College, Salzburg

Workshop, Team 78, Millstatt, Austria

Workshop, Salzburg College, Salzburg
Workshop, XIII. Rencontres Internationales de la Photographie, Arles
Workshop, International Center of Photography/New School for Social Research, New York

Workshop, Salzburg College, Salzburg
Workshop, XII. Rencontres Internationales de la Photographie, Arles
Workshop, Galerie Novum, Hannover
Workshop, Work Gallery, Zürich
Seminar, Georg-August-Universität, Göttingen, Institut für Publizistik- und Kommunikationswissenschaft

Seminar, Georg-August-Universität, Göttingen, Institut für Publizistik- und Kommunikationswissenschaft

Workshop, Work Gallery, Zürich

Symposia, Lectures, Artist Talks

“Art & Publishing”, Artist Conversation with Tse Mingchong, Master Lecture Series, Hong Kong Design Institute

“Photography Magazines: Boom or Crisis?”, Roundtable Discussion with Erik Vroons, Mauro Bedoni and Arianna Rinaldo, OjodePez Photo Meetings, Barcelona

“Nach der Philosophie der Fotografie?”, Artist Conversation with Claudia Giannetti, Edith-Russ-Haus for Media Art, Oldenburg
“Hong Kong Waters”, Artist Conversation with Oscar Ho, Asia One Vertical Art Space, Hong Kong

“Photography of the 80s”, Institut Français/Fotograf Festival, Prague
“Codes & Waters”, Artist Conversation with Tse Mingchong, Hong Kong Arts Centre

“Codes & Waters”, Nessim Galéria, Acax/Goethe-Institut, Budapest

“Re(-)viewing the City”, Guangdong Museum of Art, Guangzhou

Goethe-Institut, Bucharest
“Flusser Evening,” Jazz Club Zelezná, Prague

Goethe-Institut, Kyoto

Vysoká skola výtvarných umení, Bratislava
Art Village Center, Kobe
“Zukunft denken. Der Kommunikationsphilosoph Vilém Flusser”, Goethe-Institut, Tokyo
The Museum of Contemporary Photography, Chicago

Centro Atlantico de Arte Moderno, Las Palmas

Kyoto University of Art and Design, Kyoto

Museum für Photographie, Brunswick
“Artissima,” Fiera d’Arte Moderna e Contemporanea, Turin
Goethe-Institut, Houston
Goethe-Institut, Atlanta
Vu – Centre de la Photographie, Québec

Goethe-Institut, Tokyo
Brandenburgische Kunstsammlungen, Cottbus
“Fotografie nach der Fotografie”, Kunst.Halle.Krems, Krems
“Photosynkyria 96”, European School of Photography, Thessaloniki

“Mois de la Photo à Montréal”, Maison de la Culture Frontenac, Montreal
Roemer- und Pelizaeus-Museum, Hildesheim

“International Meetings of Photography”, Vuzrazhdane Library, Plovdiv, Bulgaria
Centro Galego de Artes da Imaxe, Universidade de Santiago de Compostela
Fotoforum West, Innsbruck

SESC Fábrica Pompéia, São Paulo

Institut für Wissenschaft und Kunst, Vienna

Universidad Complutense, El Escorial/Madrid
Centro Cultural, Belo Horizonte
Museu de Arte Moderna, Rio de Janeiro
Konstfack, Stockholm

École des Beaux Arts, Aix-en-Provence
“Primavera Fotogràfica a Catalunya”, Centre d’Art Santa Mònica, Barcelona

“International Month of Photography”, Contemporary Art Center Ileana Tounta, Athens

“9.os Encontros de Fotografia de Coimbra”, Hotel Avenida, Coimbra
Polska Akademia Nauk, Instytut Sztuki, Warsaw
Galeria ZPAF, Kraków

Universidade de São Paulo, Escola de Comunicacoes e Artes, São Paulo
Museu da Imagem e do Som, São Paulo
Funarte, Curitiba
Universidade Federal do Rio Grande do Sul, Porto Alegre
Universidade Federal de Minas Gerais, Belo Horizonte
Funarte, Rio de Janeiro
“Houston FotoFest”, Houston

“Karl Hofer-Symposion 1985”, Hochschule der Künste, Berlin
“Internationell Fotofestival”, Malmö
“Fotomostra ’85”, Lérida
Hochschule Hildesheim, Hildesheim

“5. Bielefelder Symposium über Fotografie”, Bielefeld
Escola Superior de Belas-Artes, Porto
Edificio Chiado, Coimbra
“Primavera Fotogràfica a Catalunya”, Barcelona

Hochschule für Bildende Künste, Brunswick

Princeton University, Princeton
New School for Social Research, New York
“When Words Fail.” International Colloquium, Goethe House/International Center of Photography, New York

“6. Internationales Symposium der Sammlung Fotografis Länderbank”, Vienna
“II. Internationales Foto-Symposion”, Schloß Mickeln, Düsseldorf
The Photographers’ Gallery, London

Fachhochschule Köln, Cologne
Centro de Ensenanzas de la Imagen, Barcelona
Fundació Miró, Barcelona