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Technische Universität München

Vorträge / Publikationen

Monographs  

2. Hegenbart, Sarah: From Bayreuth to Burkina Faso: Christoph Schlingensief’s Opera Village Africa as Postcolonial Gesamtkunstwerk? Leuven: Leuven University Press, 2022.

1. Hegenbart, Sarah: Oper der Ambiguitäten. Christoph Schlingensiefs Operndorf Afrika. München: Edition Metzel, 2021.

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Edited volumes

3. Hegenbart, Sarah (ed.): Curating Transcultural Spaces: Post-Colonial Conflicts in Museological Perspectives. New York/London: Bloomsbury, forthcoming.

2. Hegenbart, Sarah and Mara Kölmel (ed.): Dada Data. Contemporary art practice in the era of post-truth politics. New York/London: Bloomsbury, 2023.

1. Hegenbart, Sarah and Sven Mündner (ed.): Mythos Berlin. A London Perspective. London: The White Review, 2012.

 

Articles and Book Chapters  

(* indicates peer-reviewed journal)

 

17. Hegenbart, Sarah: ‘Curating with Alliances: The decolonial museum as facilitator for differences within communities’, in Lessons Learned? Transcultural Positions in Curating and Pedagogies, edited by Eva Bentcheva, Monica Juneja, Franziska Koch and Miriam Oesterreich. Berlin: ICI, forthcoming, undergoing peer review.

16. Hegenbart, Sarah: ‘Meleko Mokgosi’s Democratic Intuition: History paintings as diagnosis of a democratic crisis’, undergoing peer review.

15. Hegenbart, Sarah: ‘Black Dada Data: Collage as a tool of resistance against white supremacy thinking in the digital age’, in Dada Data. Contemporary art practice in the era of post-truth politics, edited by Sarah Hegenbart and Mara Kölmel. New York/London: Bloomsbury, forthcoming 2023.

14. Hegenbart, Sarah: ‘Redressing history in South Africa: Sethembile Msezane and Mary Sibande and their masking of the black body’, in Un/Masking Reflections on a Transformative Process, edited by Anna Baccanti, Franziska Link, Johanna Spangenberg and Antonia Stichnoth. Berlin: Neofelis, 2021, pp. 239-254.

13. * Hegenbart, Sarah: ‘Restoring Beauty to Politics: Working towards a distinction between Art and Political Activism against the backdrop of the Centre for Political Beauty’, in 21: Inquiries into Art, History, and the Visual –Beiträge zur Kunstgeschichte und visuellen Kultur, Issue #2, 2021, pp. 125-158.

12. * Hegenbart, Sarah: ‘Can the Institutional Theory of Art survive Zombie Formalism?’, in Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, Heft 66 Nr. 1, 2021, pp. 97-105.

11. Hegenbart, Sarah: ‘A Forum Without Dialogue? A Cabinet of Curiosities of the Failure of Multidirectional Politics of Remembrance’, in Art Criticism in Times of Populism and Nationalism: Proceedings of the 52nd International AICA Congress, Cologne/Berlin 1–7 October 2019, edited by Danièle Perrier. Heidelberg: arthistoricum.net, 2021 doi.org/10.11588/arthistoricum.891, pp. 47-60.

10. Hegenbart, Sarah: ‘Decolonising Opera: Interrogating the genre of opera in the Sahel and other regions in the Global South’, in Gefühle sind von Haus aus Rebellen. Thurnauer Schriften zum Musiktheater, edited by Dominik Frank, Ulrike Hartung and Kornelius Paede. Würzburg: Königshausen und Neumann, 2020, pp. 169-196.

9. * Hegenbart, Sarah: ‘Longing for Heterotopia: “Silver Sehnsucht” in Silvertown’, in Third Text, 2018, thirdtext.org/hegenbart-heterotopia (14.08.2021).

8. Hegenbart, Sarah: ‘Spektakel und Introspektion: Christoph Schlingensief's African Twintowers’, in Spektakel als ästhetische Kategorie: Theorien und Praktiken, edited by Simon Frisch, Elisabeth Fritz and Rita Rieger. Paderborn: Wilhelm Fink Verlag, 2018, pp. 251-265.

7. Hegenbart, Sarah: ‘Psychic Interiors: Christoph Schlingensief's Animatograph’, in The Art of Wagnis, Christoph Schlingensief's Crossing of Wagner and Africa, edited by Fabian Lehman, Nadine Siegert and Ulf Vierke. Vienna: Verlag für moderne Kunst, 2017, pp. 89-100.

6. * Hegenbart, Sarah: ‘The Participatory Art Museum: Approached from a Philosophical Perspective’, in Philosophy and Museums: Ethics, Aesthetics and Ontology. Royal Institute of Philosophy Supplement, Vol. 79. Cambridge: Cambridge University Press, 2016, pp. 319-339.

5. Hegenbart, Sarah: ‘Christoph Schlingensief: Surmonter la séparation de l’art et de la vie’, in Outrescène, No. 14, May 2013, pp. 127-131.

4. Hegenbart, Sarah: ‘A New Idea of Art – Christoph Schlingensief and the Opera Village Africa’, in The White Review, No. 5, August 2012, pp. 27-35.

3. Hegenbart, Sarah: ‘Why Beauty and Love belong Together: On Alexander Nehamas’ Analytical Connection between Beauty and Love’, in Philosophical Writings, Proceedings of The Fifteenth Annual Conference of the British Postgraduate Philosophy Association at the University of Reading, 2011, pp. 61-71.

2. Hegenbart, Sarah: ‘Brauchen wir Ideen zum Leben? Autonomes Denken und Urteilen als essenzielle Fähigkeiten des Philosophen’, in Was ist Leben? Festgabe für Volker Gerhardt, edited by Simon Springmann and Asmus Trautsch. Berlin: Duncker & Humblot, 2009, pp. 81-84.

1. Hegenbart, Sarah: ‘Platons Nomoi: Die Ansprache an die Siedler – Populärphilosophie für die breite Masse’, in Jahrbuch Politisches Denken 2008, edited by Barbara Zehnpfennig. Berlin: Duncker & Humblot, 2008, pp. 349-360.

 

Handbook Entries

5. Hegenbart, Sarah: ‘Ausstellungen’, in Christoph-Schlingensief-Handbuch. Leben – Werk – Wirkung, edited by Teresa Kovacs, Peter Scheinpflug and Thomas Wortmann. Stuttgart: Metzler, forthcoming.

4. Hegenbart, Sarah: ‘Animatographische Editionen’, in Christoph-Schlingensief-Handbuch. Leben – Werk – Wirkung, edited by Teresa Kovacs, Peter Scheinpflug and Thomas Wortmann. Stuttgart: Metzler, forthcoming.

3. Hegenbart, Sarah: ‘Richard Wagner/Gesamtkunstwerk’, in Christoph-Schlingensief-Handbuch. Leben – Werk – Wirkung, edited by Teresa Kovacs, Peter Scheinpflug and Thomas Wortmann. Stuttgart: Metzler, forthcoming.

2. Hegenbart, Sarah: ‘Mea Culpa; Via Intolleranza II; S.M.A.S.H’, in Christoph-Schlingensief-Handbuch. Leben – Werk – Wirkung, edited by Teresa Kovacs, Peter Scheinpflug and Thomas Wortmann. Stuttgart: Metzler, forthcoming.

1. Hegenbart, Sarah: ‘Operndorf’ in Christoph-Schlingensief-Handbuch. Leben – Werk – Wirkung, edited by Teresa Kovacs, Peter Scheinpflug and Thomas Wortmann. Stuttgart: Metzler, forthcoming.

 

Essays, Newspaper Articles, Interviews, Reviews 

22. Hegenbart, Sarah: ‘Partizipation als Zumutung: Zur Ästhetik des Kollektivs’, Kunstchronik, February 2023, pp. 63-75.

21. Hegenbart, Sarah: ‘Innenleben: Das Interieur als Übergangsraum des Agaracha’, Kunstchronik, February 2021, pp. 72-80.

20. Hegenbart, Sarah: ‘Experts rank the top 5 in this decade’, in Aesthetics for Birds, 28 December 2019, aestheticsforbirds.com/2019/12/28/experts-rank-the-top-5-in-this-decades-art/ (16.05.2021).

19. Hegenbart Sarah und Dietrich Erben: ‘The Architecture of Democracy’, in TUM Review #2/19, 2019, pp. 84-87.

18. Hegenbart, Sarah: ‘Zombie Formalism: Or, how financial values pervade the arts’, in Aesthetics for Birds, 31 July 2019, aestheticsforbirds.com/2019/07/31/zombie-formalism-or-how-financial-values-pervade-the-arts/ (30. 08.2019).

17. Hegenbart, Sarah: ‘“weiß” versus “Schwarz”? Drei Ausstellungen in Los Angeles, Dakar, Berlin und die Erweiterung kunsthistorischer Narrative’, in Kunstchronik, December 2018, pp. 613-622.

16. Hegenbart, Sarah: ‘Perspektivwechsel. Jetzt! Was uns die Dakar-Biennale lehrt’, in Monopol, Juli/August 2018, pp. 92-96.   

15. Hegenbart, Sarah: ‘Towards a Sweet Science of Images?’, in Art History, Vol. 40, Issue 5, November 2017, pp. 1124-1126.

14. Hegenbart, Sarah: ‘Art is dead, long live art!’, Pembroke Art, Pembroke College, University of Oxford, 9 July 2017, www.pembrokejcrart.org/post/2017/07/09/art-is-dead-long-live-art (14.08.2021).

13. Hegenbart, Sarah: ‘Thinking Beauty Through: Paul Guyer’s Narrative of Modern Aesthetics’, in Art History, Vol. 39 (30), Oxford, 2016, S. 609-611.

12. Hegenbart, Sarah: ‘Schlingensiefs Traum’, in Frankfurter Allgemeine Zeitung, 6 December 2015, p. 3.

(The article is also available online www.faz.net/aktuell/feuilleton/schlingensiefs-traum-sein-operndorf-in-afrika-wurde-schule-13948848.html; accessed on 2.03.2016).

11. Hegenbart, Sarah: ‘John Bratby/ Jean Cooke: Who is slaving at the kitchen sink?’, in The Pembrokian, Issue 41, Juli 2015, p. 18.

10. Hegenbart, Sarah: ‘The Interzone and Dexter Dalwood’, in The White Review, May 2014, www.thewhitereview.org/art/the-interzone-and-dexter-dalwood (7.01.2015).

9. Hegenbart, Sarah: ‘Anselm Kiefer - A View from a Critical Distance’, in Courtauld Critics, The Courtauld Institute of Art, 14 October 2014; blog.courtauld.ac.uk/researchforum/anselm-kiefer-a-view-from-a-critical-distance/ (8.01.2015).

8. Hegenbart, Sarah: ‘Berlin Biennale 2014’, in Courtauld Critics, The Courtauld Institute of Art, 1. August 2014, blog.courtauld.ac.uk/researchforum/berlin-biennale-2014/ (8.01.2015).

7. Hegenbart, Sarah: ‘Like an Eggshell Minus Its Eggs’, in Courtauld Critics, The Courtauld Institute of Art, 11 November 2013, blog.courtauld.ac.uk/researchforum/like-an-eggshell-minus-its-eggs-frieze-art-fair-2013/ (8.01.2015).

6. Hegenbart, Sarah: ‘On Barnett Newman’, in Gilded Birds. A snapshot of contemporary ideals of beauty, gildedbirds.com/2013/06/16/sarah-hegenbart/ (8.01. 2015).

5. Hegenbart, Sarah: ‘Interview with Bettina Pousttchi’, in Mythos Berlin—A London Perspective, edited by Sarah Hegenbart and Sven Mündner. London: The White Review, 2012, pp. 46-50.

4. Hegenbart, Sarah: ‘Interview with Jessica Morgan’. In: Mythos Berlin—A London Perspective, edited by Sarah Hegenbart and Sven Mündner. London: The White Review, 2012, pp. 160-162.

3. Hegenbart, Sarah: ‘Interview with Christian Boros’, in Mythos Berlin—A London Perspective, edited by Sarah Hegenbart and Sven Mündner. London: The White Review, 2012, pp. 6-9.

2. Hegenbart, Sarah and Simoniti, Vid: ‘Beauty and Meaning; Music and Morality: An Interview with Roger Scruton’, in Postgraduate Journal of Aesthetics, Vol. 8, No. 1, April 2011, pp. 1-15.

1. Hegenbart, Sarah: ‘Does Plato radically reject visual arts? References to the epistemological function of arts in Plato’s dialogues’, in STAAR, 2009, pp. 34-37.

 

Blog Entries

Wrote numerous entries between 2009 and 2011 for the Berlin-based blog Sounds Like Me; e.g. ‘Veredelt von Prada – Ca’ Corner della Regina‘, ‘Art | 42 | Basel – Ausschnitt eines langen Rundganges’, ‘Die Leere: Ohne Ai Weiwei’, ‘FRATERNISE | The Salon at Beaconsfield’, ‘Louise Bourgeois, Tracey Emin: Do Not Abandon Me’, ‘Gazelli Art House presents: Fired Up’, ‘VIP ART FAIR: Ein Selbstversuch’, ‘Ästhetik des Unheimlichen – London Art Fair 2011’, ‘Colour Fields — Farbfelder im Guggenheim’, ‘After Words and Pictures: Karla Black’, ‘Outrenoir: Pierre Soulages’, ‘Engelsgleich: Francesca Woodman bei Victoria Miro’, ‘MUNTEAN / ROSENBLUM at Maureen Paley’, ‘Wer gewinnt den Turner Prize 2010?’, ‘Touched: Liverpool Biennial 2010’, ‘Louise Bourgeois: The Fabric Works’, ‘Frieze Art Fair 2010 – Processes of Construction’, ‘Toujours Être Ailleurs – Die Interventionen der Klara Lidén’, ‘“Raw” – Summer Show at the Royal Academy of Arts’, ‘6. Berlin Biennale – Wirklich das, was draußen wartet?’, ‘Innen Stadt Außen – Eliassons Verzauberung’, ‘We are OPEN – Happy Birthday, MAXXI!’, ‘Ekstasis – Philip Taaffe at Gagosian Athens’, ‘Art|41|Basel’, ‘Skin Fruit: Selections from the Dakis Joannou Collection’, ‘Whitney Biennial 2010: Ephemeral Moments’, ‘Dialektik des Monstrums – Nicola Samori bei MARCOROSSI’, ‘Jitish Kallat: The Astronomy of the Subway’, ‘Modern Moral Matters – Richard Hamilton’, ‘Was heißt bitteschön Krise?’.

 

 

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