| Christian Hartard, Works, Research, Texts, CV, studio@hartard.com | de |
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Since graduating from the German School of Journalism, writing has always accompanied me: as a form of expression that precisely fixes theoretical thinking (and sometimes, if you’re lucky, starts thinking itself); as an instrument of reflection to sharpen my artistic practice and bring it to the point; as a possibility to formulate my own enthusiasm for art in a way that makes readers want to take a second look at the artwork. Over the years, I have written numerous academic articles, essayistic miscellanies, texts for artists and galleries, interviews, work documentations as well as public relations texts for curatorial projects. When necessary, I also write Punch and Judy plays for my daughters. And I’m currently working on a fantastic children’s novel about mice in Buckingham Palace – I’m excited to see where this journey will take me. Academic monographs → Kunstautonomien. Luhmann und Bourdieu. Munich: Edition Metzel / Verlag Silke Schreiber 2010, review: Pascal Geißler, Sociologica Internationalis. Europäische Zeitschrift für Kulturforschung 50, 2012, pp. 1—2, 234—6 → Utopie des Urbanen. Neuperlach – Leitbilder und Stadtbilder eines Experimentes der 1960er-Jahre. Munich: LMU Open Access 2003 / Artist catalogues (text contributions and editing) → Christian Hartard: Less Work for Mother, Museum Villa Stuck Munich, eds. Michael Buhrs and Verena Hein, with contributions by Christian Hartard, Verena Hein and Florian Pumhösl, design by Bernd Kuchenbeiser, Berlin: Distanz 2018 → Christian Hartard: #1, Galerie der Künstler Munich, 2013 / Interviews No illusions. A conversation with Verena Hein, in: Michael Buhrs, Verena Hein (eds.), Less Work for Mother, Museum Villa Stuck Munich, Berlin: Distanz 2018 Minimal consensus. A conversation with Florian Pumhösl, in: Michael Buhrs, Verena Hein (eds.), Less Work for Mother, Museum Villa Stuck Munich, Munich: Distanz 2018 / Historical research → Wo ich hingehe, geht Sie nichts an, accompanying text to the → memorial sign of the City of Munich for Barbara Hartard, also in English under the title Where I go is none of your business. Biographical notes on Barbara Hartard in: Michael Buhrs, Verena Hein (eds.), Less Work for Mother, Museum Villa Stuck Munich, Berlin: Distanz 2018 / Texts on art → Performative Objects, research programme, application for the Austrian Programme for Arts-based Research (PEEK), 2023 → Weltmaschine. Zur Geschichte des plastischen Raums, 2018 → Komm, wir bauen eine Stadt. Einige Stadtrandbemerkungen aus München-Neuperlach, in: Andreas Hild, Andreas Müsseler (eds.), Neuperlach ist schön, Munich: Franz Schiermeier 2018, pp. 555—566, previously published in Mitteilungen der Geographischen Gesellschaft München (special issue), 2006, pp. 60—73 → Die unsichtbaren Bilder. Protokoll eines Interviews, in: Heft3000 Nr. 5, 2011 → Der falsche Appelles, oder: Der Fuchs als Mahler, in: Im Bilde 2, 2010, p. 1 → Die Subversion frisst ihre Kinder. English under the title Subversion eats its children. Notes during a walk through the city of symbols in: Stickers #2, Berlin: Die Gestalten Verlag 2009 → Über den toten Punkt. Die Anfänge der informellen Malerei in Deutschland, 2002 / Texts for artists → Beyond a Thousand Doors, No World. On Ryohei Kan’s ‘Endless Gallery’, Yamamoto Keiko Rochaix Gallery London, 2019 → Das nimmt uns keiner ab, intended for: Florian Matzner (ed.), Clea Stracke & Verena Seibt, Bielefeld, Berlin: Kerber 2018, in preparation → Wir haben da mal was vorbereitet. Text on the occasion of the exhibition Minyoung Paik: Lovely Landscapes, Neuer Regensburger Kunstverein, 9 November – 12 December 2015 → Flyer. Zu einer Arbeit von Minyoung Paik, 2014 → Loneliness in front of the mirror. Felix Burger Films His Life, in: Beate Ermacora (ed.), Der Spiegel des Narziss, Galerie im Taxispalais Innsbruck, 2012, pp. 72—3 → Holde Kunst. Verena Seibt & Clea Stracke, Esther Donatz Gallery Munich, 2012 → Alles muss raus. Zu den Arbeiten von Sophia Süssmilch, 2012 → What separates us, in: Present. Clea Stracke und Verena Seibt, GEDOK Munich, 2010, pp. 14—18 → Unterwelt. Zu einem Video von Verena Seibt und Clea Stracke, German in: Förderpreise für Bildende Kunst der Landeshauptstadt München, German and English in: Present. Clea Stracke und Verena Seibt, GEDOK Munich, 2010, pp. 121—2 → Kasperl im Klassenkampf. Zu einem Video von Verena Seibt, 2009 → Und das Schiff fährt. Zu einer Video-Installation von Verena Seibt und Clea Stracke, 2009 / Editing → Das Huber-Narrativ, Festschrift for Stephan Huber, edited with Verena Seibt, design by Gabi Blum, 2017 → Ultima Vista, editing, Messner Mountain Museum, Monte Rite, Italy, 2010 → Der große P(aulus), editing, Catholic Academy in Bavaria, Munich, 2009 / Press and accompanying texts for curatorial projects → www.freischwimmer.net / Contact and imprint Christian Hartard, Donnersbergerstraße 43, Munich, studio@hartard.com |
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