There is an inner logic to the appearance of spolia in Pichl's work: significant fragments from the past but also the present, fragments both ideal and real, staged anew, interacting with each other. Here the twentieth and twenty-first centuries permeate each other. We hear both the echo and the new sound. In this way, Pichl's spolia also reveal the ambivalence of form and its often helpless dream of beauty, which so frequently comes to an ugly and brutal end. What remains is the dogged, antagonistic persistence of a utopia of form, one no longer unbroken and expressed with a particular irony. Anything else would not be a solution. So come along, and don't forget that art has its aim in sight: the point is 'to make reality impossible.' - Alexander Cammann. For a number of years, the work of Andrea Pichl has centered on the oft-derided architecture of mass-produced buildings and their position in wider architectural and historical contexts. Pichl is interested in the utopian potential of modernity that these forms convey. In her installations, photography, and paper work, the artist focuses on the question of what became of these utopias.