performances

“Lundin Oil Greenwashing Fest”
Stockholm, August 2021

Extinction Rebellion

Photo: Brita Ohlsson
Photo: Brita Ohlsson
Photo: Brita Ohlsson

Serenad till Stefan”
Stockholm, October 2020

Sanna Extincia Rebellia stalking the Swedish Prime Minister Stefan Löfven. Satirical artivist action with XR.

Photo: Brita Olsson

“At the Offices of Preem Oil”
Stockholm, September 2020

Preem’s CEO and employee slip on an oil spill at their headquarters. Satirical artivist action with Samuel Jarrick, Mariam Nordmark, and others in XR.

Photo: Brita Olsson

“Red Rebels”
Berlin, October 9, 2019

At Extinction Rebellion street actions during International Rebellion Week

Photography: Britta Pedersen

“Poverello at Tiananmen Square”
Tiananmen Square, Beijing, November 24, 2013, 3:00 pm

Forbidden street action


“June 4, 1989”
Stureplan, Stockholm, June 4, 2014 , 5:00 pm

Calligraphy in water on linen canvas: the Chinese characters for 6 and 4. An LED advertising display screen over Stureplan square simultaneously displays a video from Beijing: a barefoot, burlap-clad figure walking slowly across Tiananmen Square before being detained by police.


“Poverello Painting II”
Gotland, Sweden, July 15, 2016

Performance at Kalkladan Konst Bungenäs


“Il Poverello”
Lund, Sweden, October 4, 2013

Performance in Lund’s Cathedral. St Francis was a radical monk in the 1200’s. Barefoot, dressed in rags, he practiced “doing mercy” (active empathy) to the poor and the powerless. The performance invoked his spirit to commemorate martyrs in today’s China.


“Mercy”
Gåxsjö, Sweden, July 19, 2014

Performance at Gåxsjö Church, Jämtland. Calligraphy in water on asphalt.


“Painting Gold”
Gotland, Sweden, August 28, 2016

Performance at Kalkladan Konst Bungenäs


Space and Culture”
Stockholm, October 14, 15, & 16, 2015

Three conversations at the “Dome of Visions,” a temporary project space at KTH Royal Institute of Technology

“Space and Culture,” a series of 18 public conversations between architect Peter Lynch and artist Madeleine Hatz, was held in different venues in Sweden and the US throughout 2015. In their dialogues they examined painting, sculpture, architecture, music, poetry, philosophy, and literature as spatial situations.


“YKB Anthropometries”
Brooklyn, July 11, 2009

Performance, six hours in slow motion, on Bedford Avenue, Williamsburg, Brooklyn. Part of “7 in 6,” seven performances in the spirit of the 60’s during six hours, curated by by Creative Thriftshop and Williamsburg Gallery Association. “Klein Blue Performance” on July 22, 2009 at Elga Wimmer Gallery, New York City.

In The Klein Blue Performance by Madeleine Hatz, the artist, working with YKB paint and attired in lyotards of similar hue, paints a large drop canvas with her hands and feet, dripping and printing the paint around the contours of her own body. She pays homage to the anthropometries of Yves Klein while correcting the sexism of the French master, who used comely, naked young models as his instruments, by having the artist be her own brush. (If only such brushes were available at Pearl Paint!) A hint of the dionysiac via Carolee Schneemann’s Meat Joy might come to mind from the photographs of these performances, but that’s deceptive: With a Jordi Savall soundtrack, the experience is decidedly meditative. Hatz gave her performance in Williambsurg June 11 under the auspices of Creative Thriftshop and repeats it July 22 at 6pm at Elga Wimmer, 526 West 26, # 310, where her small YKB Ceilings series of paintings are part of that gallery’s Summer show.

review in artcritical, July 20 2009 https://artcritical.com/2009/07/20/madeleine-hatz-at-elga-wimmer/


“Blood and Oil Spill”
Brooklyn, May 2004

Performance at 610 Smith Street Studio

photography: Adriana Miranda

“Blue Fireplace”
Istanbul, November 3, 2003

Performance at Borusan Foundation, Istanbul. Part of “Hands to Work, Mind to God,” curator Elga Wimmer


“Migrants”
Zurich, November 26, 2000

Performance at Kunst 2000 Art Fair. Florence Lynch Gallery

A migrant construction worker passed by here and left traces which amount to a place. It is a site of energy, of drama yet serenity.

The small painting in the middle provides a focal point; it depicts the expulsion of Adam and Eve from Paradise. From now on, they are migrants in the world of impermanence. The piece, which is based on the painting by Domenico Zampieri in the 1500’s, also has an abstract quality: it is an undulating loop, going from gaze to gaze, from God the Father, to Adam to Eve, to the snake to the lamb, the lion, the cherubs, etc.

The loop movement is also implied in the cycle of growth and decay. Mortar is oozing between bricks, and the walls that are being erected are already crumbling ruins before they are even finished.

The migrant worker left the mortar and tools behind as one more reminder of the movements that took place here. It is by moving inside and through the place that “it becomes space” ( Michel de Certeau, The Practice of Everyday Life ).

Madeleine Hatz
November 26, 2000


“Blue Orange Works”
Brooklyn, October 5 and November 11, 2001

Performance in Williamsburg Brooklyn

photography: Adriana Miranda

History of Blue Orange

Blue Orange goes back to October 2001 in New York City, one month after the fall of the twin towers. It started as an urge to mobilize for peace, an urge to start forming a resistance movement in the face of growing war propaganda, xenophobia, and patriotism. At a time of chaos and confusion, I wanted to put a call out to the art community. I hosted events at my studio, wrote the Blue Orange Manifesto, and started this web site, which at first did not carry my name. Later the site became the host for all my work as an artist and activist. Painting was becoming literal Act and Action. Color and Space thus become the vehicle for the Act and Action.

The name Blue Orange was picked when I glanced at my palette: At that specific point in time it was blue/orange, which of course is also the two ranges of warm and cold colors. Concretely it is the full spectrum with all its nuances and philosophically it is the perfect paradox: the unification of the seemingly incompatible. Utopia?

As Paul Éluard wrote: “The Earth is Blue like an Orange”

Blue Orange Manifesto

In the days after September 11, we New Yorkers united in commonhood: Strangers in the streets offered each other compassion.
The strange odor (of burnt plastic? cremated bodies?) which is still in the air here, is associated with a sense of horror and foreboding. We have experienced the horror, the fear, the loss, from up close. When we now see news pictures of Afghan villages and cities being bombed, we know the tremors, we know the piles of rubble, the smoke, the smell of death.
Let us extend our compassion to all people!
Otherwise how can we use the word compassion?
Love thy neighbor??? Or would that mean only your next-door neighbor?
In the year 2002, the term “neighbor” ought to mean your “fellow human being”!
I believe there is no “us” and “them”. There is only “us”. All of us – little humans.
As humans we are standing at a crossroads in History. There have never before been so many weapons with the power to totally annihilate the world, and they are in so many different parts of the world.
Communications have never traveled faster, and technological development and consumption rates as well as pollution and environmental destruction have never accelerated faster. At this crossroads, we must take the road of survival.
Let us “stand united” against the threat of global destruction and for global survival!
Many voices, in different parts of the world, are now speaking of this moment as an opportunity for radical change that can lead to an ultimately more stable world. We do not have security now due to the threat of terrorist acts, and terrorists operate internationally, encouraged by a world based on nations and borders. In a global community, with global laws, we could go after criminals more effectively. We have to make agreements across the board of how we define “terrorist” and “terrorism”.
We will need new common definitions, new thinking, a new sense of identity. Finally, compassion as a notion is not purely emotional. It can be seen as a conscious and mental effort.
In a time of crisis, many people reach for something to hold on to: values we learned and that bring us together as a community. Maybe this explains the enormous proliferation of American flags now around the city. Even though, in many places on the globe, the American flag symbolizes military superpower, bombs and devastation, I realize that to quite a few New Yorkers, the flag means cohabitating cultures and ethnicities.
It is time to ponder the meaning of the word “community”, and search for a new way of being in the world. In a church in Holland a year ago I painted a Sufi quote on the wall, in an arch over a lamentation scene (also my me). The inscription reads: “Be in the world like a stranger, a passerby.” It is a position of humility rather than of pride, yet if you are a stranger everywhere, you also belong anywhere, temporarily. This is a paradox, something that is seemingly an incompatibility. What is mystery becomes very clear and simple on an ethical level: Love Thy Neighbor as Thyself.
Personally I see it as my role, to pray to the “gods” of others. Thus my Blue Orange Works become a prayer. God help us all!
All religions I know share (at least on a theoretical level) the values of compassion, mercy, brotherhood (social responsibility) love and peace.
American people (up to 95%), according to a recent study, see themselves as religious.
“In the name of Allah, the merciful and the compassionate…” Thus starts the Koran.
On a practical, political level, the logical conclusion of all the above spells out:
Stop the bombing, start negotiating. Let’s work for survival, united against the threat of global devastation. Let’s take responsibility for and begin to take care of our earthly community and environment, to share our wealth, resources and territory.


Madeleine Hatz
New York, October 18, 2001