Florian Hareter’s artistic practice moves between painting, installation, video, text, and artistic research. It often begins with what is already there: an object, a routine, a gesture, a surface, a technical function. Everyday things become unstable once they are observed for long enough. Their familiarity starts to crack. Domestic spaces, technologies, and ordinary infrastructures form recurring points of departure.

The household appears as a place of intimacy, but also of work, regulation, repetition, care, gender, class, and social order. Hareter is interested in the moment when a seemingly private situation reveals its political dimension. Autobiographical experiences meet popular culture, technological history, material processes, and queer-feminist thought. Personal memory becomes entangled with larger structures. Objects begin to carry histories. Functions begin to produce meanings.

There is an interest in systems, but also in their failure. In loops, repetition, imbalance, friction, and things that refuse to behave as expected. His artistic practice extends into pedagogical formats. Teaching is understood less as the transmission of predetermined knowledge than as another space of artistic inquiry: a place for experimenting, observing, making, failing, discussing, and reconsidering. Processes remain open. Material and immaterial outcomes coexist. A sketch, a conversation, a hesitation, a shift in perspective may become as relevant as a finished work. Artistic and pedagogical practice therefore overlap without becoming identical.

Both are seen as ways of producing situations in which something familiar can be seen differently or disturbing.

And perhaps this is where the work begins: with the ordinary becoming strange enough to be questioned.