By Stella Rollig
There is something tremendously fascinating about Monika Pichler's pictures, an affective attractiveness that draws us in directly and touches us in a primal, not necessarily intellectual way. I would like to formulate a few arguments, a few thoughts about (read more...)

By Paolo Bianchi
Sitting on the back of an elephant and observing poor, wild India with pitying amusement as a discerning white man exemplifies the wonderful amazement of a European. Those who wish to not only see, but also comprehend will not be able to avoid a deeper study of foreign cultures. The more one knows, the more one sees. Those who know, are more perceptive. (read more...)

By Martin Hochleitner
Attempting to name certain characteristic structures or features of Monika Pichler's work, we inevitably run into the aspects of material, identity and memory. These also define the concept of today's exhibition, which calls a memory of the grandmother to mind, in the broadest sense, with the force of the installation, the image. (read more...)

By Vera Rathenböck
A "chamber journey", in other words traveling in one's own mind with a book in hand, was the recommendation given to women in the 19th century with a yearning for faraway places. The textile artist Monika Pichler has also dealt with "chamber journeys", and she has found a medium rich in symbolic and creative possibilities in the form of the "carpet". (read more...)

By Paolo Bianchi
"Hanging on the tree, the walnut is enclosed in a fleshy green hull that bursts when it falls from the tree," noted Monika Pichler. The walnut is a drupe. In literature the nut/walnut/almond is used as a symbol for the human being. (read more...)

By Gerda Ridler
Recent wars have torn many people roughly from their dreams of peace. Television and newspaper supply us with daily reports of people fleeing with only the barest necessities from war, violence and terror. (read more...)