Dr. Sarah Hegenbart

Dr. Sarah Hegenbart

Dr. Hegenbart after having completed a M.St. in Ancient Philosophy at the University of Oxford and a Magister in Philosophy and History of Art at the Humboldt University of Berlin, took up a post in the cultural section at the German Embassy in London. Subsequently, she undertook her doctoral research at the Courtauld Institute of Art in London under the supervision of Prof Sarah Wilson. During this time, Sarah Hegenbart also worked as college curator of art at Pembroke (University of Oxford) and as associate lecturer at the Courtauld Institute. Her dissertation, “From Bayreuth to Burkina Faso: Christoph Schlingensief's Opera Village Africa as postcolonial Gesamtkunstwerk?”, explored Opera Village as a testing ground for a critical interrogation of Richard Wagner's notion of the Gesamtkunstwerk. Currently, she is preparing her post- doctoral research project (habilitation) that investigates into the potential of images to foster criticality in the era of post-truth politics while working as a lecturer in art history at the Technical University Munich.

 

 

Relevant (selected) publications

1.) Hegenbart, S. (2016). The Participatory Art Museum: Approached from a Philosophical Perspective. Royal Institute of Philosophy Supplements, 79, 319–339.

2.) Hegenbart, S. (2018a). Longing for Heterotopia: ‘Silver Sehnsucht’ in Silvertown. Third Text, Third Text Online.

3.) Hegenbart, S. (2018c). „weiß“ versus „Schwarz“? Drei Ausstellungen in Los Angeles, Dakar, Berlin und die Erweiterung kunsthistorischer Narrative. Kunstchronik, (Global Art History).

4.) Hegenbart, S. (2018b). “Perspektivwechsel. Jetzt! Was uns die Dakar-Biennale lehrt.” Monopol, 92– 96.

5.) Hegenbart, S. (2015, December 6). Schlingensiefs Traum. Frankfurter Allgemeine Zeitung.

Relevant (selected) projects and activities

1.) Organized lecture series „Perspectives in Plural. Collaborating Cultures, Negotiating Identities”. The lecture series investigates how the plurality of perspectives, shaped by a diversity of cultural, national and social experiences, integral to collaboration, e.g. in artist collectives, leads to novel, constantly shifting identities that are no longer tied to national backgrounds.

2.) College Curator of Art at Pembroke Art Gallery, University of Oxford. Curated the exhibitions “Meaningful Vision” (2017), “Krikor Momdjian: Salt Room Wanderings - When Night Falls” (2016), “The Art of Our Time: Time-Based Media Art from the Julia Stoschek Collection” (2016), Jean Cooke/John Bratby: Who is slaving at the Kitchen Sink? (2015)

3.) Curated exhibition “Learning from Africa—Christoph Schlingensief’s ‘Opera Village Africa’, London (2012)”

4.) Curated exhibition “Mythos Berlin - A London Perspective“ as part of the Frieze VIP programme, London (2012).

5.) Curator and Exhibition Organiser, German Embassy London