2015 - 2019


2018 - 2020
since 2023

born in Eisenstadt, Austria


Diploma Art-Education
Kunstuniversität, Linz

Bachelor Textile-Art
Kunstuniversität, Linz


Kunstuniversität, Linz



2019 with 'evidente dysbalancen' at Private Pädagogische Hochschule der Diözese, Linz

2017 with 'my_machine' at the exhibition 'Bestoff17' at Offenes Kulturhaus Oberösterreich, Linz

2017 with 'my_machine' at the group exhibition '1 Schnitt vong Kunst her' at Kunsthalle, Linz



Points of educational pracitce:


  • Recognizing and building up with connections between art and design
  • Acquisitions of skills through speaking and reflecting on art and stutent work
  • Curational practice of creative results and including them into artistic work
  • Building up, Deepening and maintaining  decisiveness during creative processes



Points of research:


  • Identities of Gender and their developement within art and society in 20th century
  • Analysing of binary gender-roles and stereotyping
  • Transformation of household and domesticated environments




About my general processes:


In my  work it is important to me to show the inherent ambivalences between the found, the artificial, the spatial and the everyday. For this I regularly use the method of decontextualization. In order to show these contrasts, my starting points are predominantly natural materials, such as liquids, textiles, porcelain and paper.



This naturalness is set in a dialogue by adding synthetic objects or with installation interventions and enables me to look at the question of the natural from a different perspective: How natural is water in a swimming pool? How natural is the withdrawal of a plant part from its process of decay? And how natural is white bleached paper? Furthermore, I often follow an additive approach in my practice by adding further objects to objects and thus giving them an additional function or shifting the range of performativity through subtraction.


A feature that is also reflected in my practice is the conscious use of color, which almost exaggerates the artificial and opposes the imitation or appropriation of the natural. This contrasting often gives the impression of sterility and hygiene, which is also an obviously desirable maxim in domesticated environments.


In my outputs i try to visualize a breakdown and banalization of former objects, to their never delegated purpose by society, which play a major role and are able to close the traditional channels of reception for us. A retrograde-democratic relocation of these objects emerges, which forms a narrative outside of their assigned conformities and surroundings.





Mail: florian.hareter@gmail.com

Web: www.florianhareter.com






evidente dysbalancen



The striving for balance is an essential process due to human genetic coding, which is often only perceived unconsciously. We find ourselves in constant balancing of the external factors influencing our everyday lives and the society we perform.


'Yin-yang', 'work-life balance', 'compromise' are just some of the names of this need.


Despite the attempt to tare, our environment is still characterized by external imbalances. One of these visualized imbalances are the rudimentary connection mechanisms such as fabric and tension belt, which are nevertheless made of high-tech materials.


In this work further ambivalences, like air mattress and pebbles, question the position of the weighted subject.


What role does the body play in the social system? Is a body only a beneficiary within constructed structures or can it actively participate in buoyancy control?


The following picture is a capture of the setting.







Photographs in digital format, if not archived and sorted, have an expiry date. The abstract process of visually capturing and archiving memories is currently an essential point in our image-oriented society that influences the handling of memories. A photograph as an archived memory of a person, situation or place. Photos that are neither published nor archived are lost - the memories are erased.


In an image-creating age, in which thousands of photos are published every day and even more are produced, I wanted to deal with a photograph in this work that was already taken and would probably have been lost without intervention. The image is from an analog camera that I acquired through estate hopping. Photographs produced of people who have already died can not only be morbid, but also give me a very intimate insight into a life that has already died out. Photographs continue to have an effect after the death of the deceased and leave behind an intangible trace that will soon fade without intervention.


Similar to illustrations, substances can preserve this trace for a short time. A perfume on a scarf, the feel of a pullover, a cap still hanging on a coat hook. The impressions and memories fade, what remains are photographs that can no longer reveal any sensual experiences.


The selected photo eludes this dissolving and, through the blurred motif itself, becomes the representative object of a fading, repetitive process and is preserved through the lamination of external influences.


Presentation of Diploma

Kunstuniversität, Linz

19th July, 2019


For many people an incentive to improvise and progress, for even more people a reason to give up. The phenomenon of failure gives the impression of simultaneously separating and merging the most diverse areas of art and science. The failure itself is a tightrope walk between motivation and frustration, a symbiosis of future and past, an apparent ultimatum of a diffuse unsuccessful process that finds a successful end neither through options nor through renewed chances. Failure polarizes, it seems to end a phase and is an integral part of both public and private life.


During my art studies Art-Education and Textile-Art, failure was and is the essential driving force behind my progress. Not only failed artistic projects, but also unsuccessful social contacts, unsuccessful teaching practices, the failure of students at a task in class or the failure of semester fees gave me the breeding ground and the motivation to analyze this phenomenon more closely.


The imagination of immaterial phenomena often appears to be difficult. The attempt to analyze these insubstantial peculiarities theoretically and to desperately legitimize the resulting theories with the help of already scientifically founded theses is therefore often perceived as to grab into the air. What remains in many cases is the fading haze of theoretical justifications and approaches, printed on chlorine-free paper qualities.


In which extent has the development and meaning of the term changed over the centuries and how can failure itself be essential for success, I would like to use this written work to discuss in the diverse areas of sociology, psychology, art and education. Based on an literature research, it is a partial goal to analyze the etymological development of the term and the process "failure" in the sociological field and to open an interface to subject- and competence-oriented art classes. And how to create a synopsis between failure and success within school and university systems.


The thesis 'CHAN CEN' is a scientific and artistic examination of the phenomenon of failure. It is the synchronous questioning and trivialization of the meaning and purpose of scientific publications. Printed on the former carrier of world information, the conventional channels of reception of knowledge close and try to locate them anew. Keeping distance from the one-dimensional treatment of the topic, failure itself becomes failure and forms itself as an autonomous paradox.


Failure, the origin and end of which can be found in human action, in order to change the constant perspective of society as a dynamic desideratum and to reflect the combination of chains of decisions of creative processes.


An observation and analysis of failure in the context of art within school and university systems. Between distortions of proportion, archetypes, self-critical reflections and loops of eternal failure.


The following pictures are a capture of the setting during presentation. Photocredits by Dimitrios Vellis.







Breaking through the usual projection screen was one of the main goals of this video work. My video should be viewed as a digitally moving collage that breaks the original framework of consumer-oriented communication.

Florian Hareter, 2023