early works

“Blood for Oil: Suitcase”
vintage suitcase, pigmented plaster, paint
“Luggage” exhibition, Denver International Airport, July – August 2003

“The piece was made to be part of the ‘Luggage Project’ at Denver International Airport, known for its ambitious and original art exhibits. When invited to contribute one of the 40 suitcases to be displayed, I looked into my closet and pulled out an old luggage piece. It was a Swedish thing from the 50’s, and I filled it with sky blue bricks and rubble which had already traveled with me to Istanbul for a previous show. On top of the bricks I put one big scoop of the oil and blood spill which happened to be still sitting like a huge splash on my studio floor. It was one week after the performance which had taken place in the studio on May 17: ‘Oil Spill at Rockefeller Center.’ Materials: bricks of plaster and pigment, spill of black and red lumpy paint. The exhibition opened on July 6, 2004. On July 9 my piece was removed from the display by order of the Mayor of Denver. Reason? This is ‘Inappropriate Art.’ The case was fought by National Coalition Against Censorship and the American Civil Liberties Union.”

Madeleine Hatz

Link to essays by Sophie Allgardh in Paletten #278 (2009): “Madeleine Hatz Reclaims the Streets of New York” and “Activism and Censorship after 9/11”

“Gold Earth Dome Nävertorp”

a house for women in Katrineholm, Sweden
June – September 2016
for Swedish National Public Art Fund
with collaborator Anna Viola Hallberg

“Rubble Crime Scene”

steel, plaster, pigment, knife, rubber gloves
exhibition “Rubble Land” at ArtNation Projects, New York City, May 2000

“Brokken Land”

clay bricks, mortar, ceramic tiles
Leeuwarden City Hall, Netherlands, 2000

“Red Hook Studio”

pigmented plaster
installation in Red Hook, Brooklyn, August 2005

“Vertical Painting”

plaster, papier-mâché, landscape foam, acrylic paint
site-specific installation for “Vertical Painting” show at PS1 Contemporary Art Center, Long Island City, New York, 1997


sheet metal, spray paint
site-specific installation on rooftop of Florence Lynch Gallery, New York City
part of solo exhibition “Palettes,” 1998