Pinocchio: Ein Lineares Programm / A Linear Program
Claus Boehmler
1969
Pinocchio: Ein Lineares Programm / A Linear Program
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In his witty and comprehensive monograph, Michael Glasmeier explains how the artist pioneered an accessible form of media art through the use of everyday technologies:   “His interests as an artist are not so much ...
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Pinocchio: Ein Lineares Programm / A Linear Program
Claus Boehmler
1969
Cologne and New York: Verlag Gebr. König
Unpaginated [78 pages]
15 × 21.3 cm
Special edition of 25; signed, dated and numbered 4/25

In his witty and comprehensive monograph, Michael Glasmeier explains how the artist pioneered an accessible form of media art through the use of everyday technologies:


 


“His interests as an artist are not so much the development of algorithms as the practical use of typewriters, photocopiers, cassette recorders, record players, Super 8 films, cameras, radios, film or slide projectors, video, i.e. the media with which a maximum of art can be produced extremely economically and easily. Like drawing, painting, sculpture, graphics and performance, he uses them as a self-reflecting, intermedial, communicative invitation.” (Claus Böhmler: Smart Artist, Textem Verlag, Hamburg, 2019)


 


This is precisely the case with Pinocchio: A Linear Program, in which the artist transforms linguistic propaedeutics (English and German) into an interactive and playful semiotic exploration of the relationship between text and image. Using a simple Walt Disney Pinocchio stamp, Böhmler deconstructs and reconstructs the character throughout the book, creating an almost existential, and at times metaphysical, reading of the literary and cartoon character (and its micromovements) within the space of each page.


 


This special-edition copy also includes an original vintage photographic print of the Walt Disney cartoon, as well as a miniature version of Pinocchio’s legendary glove, loosely slipped between the pages.

Cologne and New York: Verlag Gebr. König
Unpaginated [78 pages]
15 × 21.3 cm
Special edition of 25; signed, dated and numbered 4/25

In his witty and comprehensive monograph, Michael Glasmeier explains how the artist pioneered an accessible form of media art through the use of everyday technologies:

 

“His interests as an artist are not so much the development of algorithms as the practical use of typewriters, photocopiers, cassette recorders, record players, Super 8 films, cameras, radios, film or slide projectors, video, i.e. the media with which a maximum of art can be produced extremely economically and easily. Like drawing, painting, sculpture, graphics and performance, he uses them as a self-reflecting, intermedial, communicative invitation.” (Claus Böhmler: Smart Artist, Textem Verlag, Hamburg, 2019)

 

This is precisely the case with Pinocchio: A Linear Program, in which the artist transforms linguistic propaedeutics (English and German) into an interactive and playful semiotic exploration of the relationship between text and image. Using a simple Walt Disney Pinocchio stamp, Böhmler deconstructs and reconstructs the character throughout the book, creating an almost existential, and at times metaphysical, reading of the literary and cartoon character (and its micromovements) within the space of each page.

 

This special-edition copy also includes an original vintage photographic print of the Walt Disney cartoon, as well as a miniature version of Pinocchio’s legendary glove, loosely slipped between the pages.

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In his witty and comprehensive monograph, Michael Glasmeier explains how the artist pioneered an accessible form of media art through the use of everyday technologies:

 

“His interests as an artist are not so much the development of algorithms as the practical use of typewriters, photocopiers, cassette recorders, record players, Super 8 films, cameras, radios, film or slide projectors, video, i.e. the media with which a maximum of art can be produced extremely economically and easily. Like drawing, painting, sculpture, graphics and performance, he uses them as a self-reflecting, intermedial, communicative invitation.” (Claus Böhmler: Smart Artist, Textem Verlag, Hamburg, 2019)

 

This is precisely the case with Pinocchio: A Linear Program, in which the artist transforms linguistic propaedeutics (English and German) into an interactive and playful semiotic exploration of the relationship between text and image. Using a simple Walt Disney Pinocchio stamp, Böhmler deconstructs and reconstructs the character throughout the book, creating an almost existential, and at times metaphysical, reading of the literary and cartoon character (and its micromovements) within the space of each page.

 

This special-edition copy also includes an original vintage photographic print of the Walt Disney cartoon, as well as a miniature version of Pinocchio’s legendary glove, loosely slipped between the pages.

Cologne and New York: Verlag Gebr. König
Unpaginated [78 pages]
15 × 21.3 cm
Special edition of 25; signed, dated and numbered 4/25

In his witty and comprehensive monograph, Michael Glasmeier explains how the artist pioneered an accessible form of media art through the use of everyday technologies:

 

“His interests as an artist are not so much the development of algorithms as the practical use of typewriters, photocopiers, cassette recorders, record players, Super 8 films, cameras, radios, film or slide projectors, video, i.e. the media with which a maximum of art can be produced extremely economically and easily. Like drawing, painting, sculpture, graphics and performance, he uses them as a self-reflecting, intermedial, communicative invitation.” (Claus Böhmler: Smart Artist, Textem Verlag, Hamburg, 2019)

 

This is precisely the case with Pinocchio: A Linear Program, in which the artist transforms linguistic propaedeutics (English and German) into an interactive and playful semiotic exploration of the relationship between text and image. Using a simple Walt Disney Pinocchio stamp, Böhmler deconstructs and reconstructs the character throughout the book, creating an almost existential, and at times metaphysical, reading of the literary and cartoon character (and its micromovements) within the space of each page.

 

This special-edition copy also includes an original vintage photographic print of the Walt Disney cartoon, as well as a miniature version of Pinocchio’s legendary glove, loosely slipped between the pages.

MORE BOOKS

In his witty and comprehensive monograph, Michael Glasmeier explains how the artist pioneered an accessible form of media art through the use of everyday technologies:

 

“His interests as an artist are not so much the development of algorithms as the practical use of typewriters, photocopiers, cassette recorders, record players, Super 8 films, cameras, radios, film or slide projectors, video, i.e. the media with which a maximum of art can be produced extremely economically and easily. Like drawing, painting, sculpture, graphics and performance, he uses them as a self-reflecting, intermedial, communicative invitation.” (Claus Böhmler: Smart Artist, Textem Verlag, Hamburg, 2019)

 

This is precisely the case with Pinocchio: A Linear Program, in which the artist transforms linguistic propaedeutics (English and German) into an interactive and playful semiotic exploration of the relationship between text and image. Using a simple Walt Disney Pinocchio stamp, Böhmler deconstructs and reconstructs the character throughout the book, creating an almost existential, and at times metaphysical, reading of the literary and cartoon character (and its micromovements) within the space of each page.

 

This special-edition copy also includes an original vintage photographic print of the Walt Disney cartoon, as well as a miniature version of Pinocchio’s legendary glove, loosely slipped between the pages.

MORE BOOKS