{"id":181,"date":"2025-04-22T00:00:57","date_gmt":"2025-04-21T22:00:57","guid":{"rendered":"http:\/\/wp.martinesgard.com\/wordpress\/referenzen\/"},"modified":"2025-04-28T13:41:43","modified_gmt":"2025-04-28T11:41:43","slug":"references","status":"publish","type":"page","link":"https:\/\/martinesgard.com\/en\/references\/","title":{"rendered":"References (extracts)"},"content":{"rendered":"

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/3″][vc_column_text]<\/p>\n

Specialized B<\/span>ooks<\/h2>\n

[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”345″ img_size=”full” qode_css_animation=””][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1594655675918{padding-top: 25px !important;}”][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”501″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745327246620{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]La Ville et son sol
\n<\/em>Hans Bernoulli (townplanner)
\nM\u00e9tispresses, Geneva, 2025 (coming soon).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”495″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326987170{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Mamlouks 1250\u20131517
\n<\/em>Exhibition catalogue (trans. with L. Cantagrel)
\nMus\u00e9e du Louvre, Paris, 2025 (coming soon).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”491″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326882988{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Chefs d\u2019\u0153uvre surr\u00e9alistes de la collection Hersaint \u2013 La Clef des songes
\n<\/em>Exhibition catalogue Fondation Beyerler
\nHatje & Cantz, Berlin, 2025.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”486″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326819433{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Guillon Lethi\u00e8re, n\u00e9 \u00e0 la Guadeloupe
\n<\/em>Exhibition catalogue (trans. with L. Cantagrel)
\nMus\u00e9e du Louvre, Paris, 2024.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”477″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326758724{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Les Traces du jardin dans l\u2019architecture du paysage contemporaine fran\u00e7aise et allemande
\n<\/em>(Landscape architecture)
\nJ\u00fcrgen Weidinger (ed.)
\nJovis Verlag, Berlin, 2024.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”473″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326679899{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Cartographies du pouvoir \u2013 Histoire du paysage de la vall\u00e9e du Jourdain
\n<\/em>(Mapping Power \u2013 History of Landscape in the Jordan Valley)
\n<\/em>Ben Gitai
\nM\u00e9tispresses, Geneva, 2024.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”463″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326628363{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Atlas de l\u2019invisible
\n<\/em>(OV Atlas of the Invisible)
\n<\/em>(Geografi, Mapping)
\nJames Cheshire, Oliver Uberti (trans. with L. Cantagrel)
\nAutrement<\/a> \/ Flammarion, Paris, 2022.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”459″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326383571{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]R\u00e9nover le b\u00e2ti \u2013 patrimoine et modernit\u00e9
\n<\/em>(Architecture)
\nCatarina Wall Gago
\nM\u00e9tispresse, Geneva, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”454″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326323328{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Lovis Corinth
\n<\/em>Exhibition catalogue
\n<\/em>Translation of texts by P. Kropmanns and Gitta Ho
\nGalerie Karten Greve, Cologne, 2021\u20132022..[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”510″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745326079385{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Cartographie des affinit\u00e9s
\n(OV Mapping Affinities)
\n<\/em>(Geografi, GIS)
\nDario Rodighiero
\nM\u00e9tipresse, Geneva, 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”445″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745325988056{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Porter le temps \u2013 m\u00e9moires urbaines d\u2019un site horloger
\n<\/em>(Sociology)
\nF. di Pieri
\nchapter \u201dLa Chaux-de-Fonds\u201d
\nM\u00e9tispresse, Geneva, 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”441″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745325888299{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Jardins en images
\n<\/em>(Literature and Garden Design)
\nM. Jakob, J. Berchtold (eds.)
\nText of Erik de Jong
\nM\u00e9tispresse, Geneva, 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”272″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1605627073796{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Architecture 1968. Panorama international des renouveaux p\u00e9dagogiques<\/em>,
\nA. Debarre, C. Maniaque, E. Marantz, J.-L. Violeau, translated from English
\nM\u00e9tispresses<\/a>, Geneva, 2020.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”292″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1605627105128{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Architecture moderne et autres textes<\/em>
\nOtto Wagner,
\n(orig. Moderne Architektur<\/em>)
\nParenth\u00e8ses<\/a>, Marseille, 2019.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”276″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1605627121177{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Des jardins et des livres<\/em>,
\nMikael Jakob (ed.) from English and German
\nM\u00e9tispresses<\/a>, Geneva, 2018.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”288″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1605627144566{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Transbordeur n\u00b02, photographie histoire soci\u00e9t\u00e9<\/em>,
\n“photography and exhibition”, texts of S. Gasser, G. Schaad, S. Schmeling and M. Willi
\nMacula\u00a0 <\/a>Paris, 2\/2018.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”482″ img_size=”full” add_caption=”yes” qode_css_animation=”” css=”.vc_custom_1745324013718{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Pierre Puget 1620-1696
\nThe Artist and his Work
\n<\/em>Klaus Herding
\n(chapter dedicated to the School of Puget, translated in 2018)
\n\u00c9ditions Faton, Dijon, 2024.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”280″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1605627178130{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Le cours du paysage<\/em>
\n(english, The Course of Landscape Architecture)
\n<\/em>C. Girot
\nEugen Ulmer Eds, Paris, 2016.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”284″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1605627197769{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Le sol des villes \u2013 ressource et projet
\n<\/em>Panos Mantziaras and Paola Vigan\u00f2 (ed.)
\ncontribution of A. Zutz
\nM\u00e9tispresses<\/a>, Geneva, 2016.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator type=”normal” border_style=”” up=”15″ down=”0″ color=”#000000″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”90″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/3″][vc_column_text]<\/p>\n

P<\/span>apers \u2013 Contributions \u2013 Conferences<\/h2>\n

(extracts of the five last years)<\/p>\n

[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”349″ img_size=”full” qode_css_animation=””][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1594655766097{padding-top: 25px !important;}”][vc_column_text]Mus\u00e9e des Arts d\u00e9coratifs de Paris (2025) \u201dPoiret en Am\u00e9rique\u201d
\nEssays for the exhibition catalogue Paul Poiret <\/em><\/a>(with L. Cantagrel)
\nGallimard \/ Mus\u00e9e des Arts d\u00e9coratifs, Paris, (coming soon).<\/p>\n

Liesbrock, Heinz (2025) \u201dFen\u00eatre grande ouverte sur le pass\u00e9 \u2013 Eug\u00e8ne Atget et Walter Evans\u201d
\n(photography)
\nVilla H\u00fcgel, Essen.<\/p>\n

L\u2019intime<\/a> \u00b7 de la chambre aux r\u00e9seaux sociaux <\/em>(2024), texts for the exhibition catalogue
\nGallimard \/Mus\u00e9e des Arts d\u00e9coratifs, Paris.<\/p>\n

WhenWeSeeUs <\/em>(2024), e- and audioguide for the exhibition
\nKunstmuseum Basel, Schwitzerland.<\/p>\n

MadeIn, Charbonnet\/Heiz (2024) \u201dDe la verticalit\u00e9\u201d, final report, ETH Zurich, Park Books,<\/p>\n

Cordez, Philippe (2023) \u201dLe Golgotha en t\u00eate. Le peigne de Charles le Chauve\u201d, DFK (German Center for Art History) in Paris.<\/p>\n

Weidinger, J. prof. (2023) \u201dTrente ans d\u2019architecture du paysage allemande et fran\u00e7aise. Une comparaison\u201d, TU\u00a0Berlin.<\/p>\n

Bernhart, K. et al. (2023) \u201dPoint aveugle de l\u2019histoire de l\u2019art? L\u2019exemple de l\u2019Ukraine\u201d, DFK\u00a0Paris.<\/p>\n

Olchawa, Joanna (2022) \u201dLes aquamaniles de Hildesheim d\u00e9couverts en Europe de l\u2019Est et en Sib\u00e9rie. Une contribution \u00e0 l\u2019arch\u00e9ologie \u00e9conomique du XIIIe si\u00e8cle\u201d, DFK\u00a0Paris.<\/p>\n

Bohde, Daniela (2022), \u201dLa for\u00eat vue par Albrecht Altdorfer et Wolf Huber: histoire et recherche\u201d DFK\u00a0Paris.<\/p>\n

von Drathen, Doris (2022), \u201dL\u2019imago de la chute d\u2019eau. Pat Steir\u201d, Galerie LGDR, Paris.<\/p>\n

Hopstock, Lars (2022), \u201dLe jardin comme Art-Espace\u00a0: modernisation de l\u2019enseignement du paysage au d\u00e9but du XXe<\/sup> si\u00e8cle\u201d Universit\u00e4t Karlsruhe.<\/p>\n

Wagner, Bettina (2022), \u201dKontakthof<\/a>\u201d, texts for the revival of the dance show Pina Bauschs, Tanztheater Wuppertal \u2013 Pina Bausch.<\/p>\n

Wolff, Manuel, Haase, Annegret (2021), \u201dOc\u00e9an \u00e9tale ou mer agit\u00e9e ? Retracer 30 ans d\u2019\u00e9volution d\u00e9mographique spatiale en Allemagne\u201d, [Calm ocean or stormy sea? Tracing 30 years of demographic spatial development in Germany], publication by Helmholz Zentrum f\u00fcr Umweltforschung.<\/p>\n

Cordez, Ph., Winter, Evelyne, (2021) \u201dVision et r\u00e9forme : les vierges couronn\u00e9es d\u2019Hildegarde de Bingen\u201d, publication by DFK Paris.\u00a0<\/em><\/p>\n

Formafantasma Cambio<\/a>
\n<\/em>Texts for the exhibtion and the catalogue Formafantasma
\n<\/em>Museum f\u00fcr Gestaltung (MfG), Z\u00fcrich, Switzerland, 2021.<\/p>\n

Schweizer Architekturpreis Beton21
\n<\/em>texts for the publication and the exhibition Swiss Architecture Price Beton21 (with V. Meunier)
\ngta Verlag, 2021.[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”15″ down=”0″ color=”#000000″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”90″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/3″][vc_column_text]<\/p>\n

Literature \u2013 poetry \u2013 <\/span>play<\/h2>\n

\u00a0<\/span><\/h2>\n

[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”182″ img_size=”full” qode_css_animation=””][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1594655791068{padding-top: 25px !important;}”][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”555″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745330514918{padding-top: 15px !important;}”]Kanweiler & Rupf \/ Correspondence 1933\u20131945
\n<\/em>[Ein Galerist und sein Sammler]
\n<\/em>(translation, revision and copy-editing of the letters)
\nHatje & Cantz, Berlin, 2024.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”550″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745330357197{padding-top: 15px !important;}”]Manufacture industrielle ou la police de caract\u00e8re de Stefan George
\n<\/em>essay of typography and poetry
\nRoland Reu\u00df
\nCatalogue G\u00e9n\u00e9ral, Paris, 2024.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”602″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745329948181{padding-top: 15px !important;}”]Fransk Bilderbok<\/em>
\n(“French Picture-Book”)
\nTage Aurell
\nTranslation of two short stories “V\u00e4gen till Revel” and “Sanary 24 dec.” Fransk Bilderbok <\/em>F\u00f6rfattarf\u00f6rlaget@Tage Aurell 1970
\nApplication for a grant of the swedish Kulturr\u00e5det, 2023.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”546″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745330249157{padding-top: 15px !important;}”]Haben sich die Deutschen gewandelt? Die Stimme eines Ungarn.
\n<\/em>Miklos Magyar
\n[Eurasia Verlag 1953]
\nTranslation of extracts and review, 2022\u20132023.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”542″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745330131652{padding-top: 15px !important;}”]Die Pflasterk\u00e4sten. Ein Feldsanit\u00e4tsroman
\n<\/em>Alexander Moritz Frey
\n[Kiepenheuer Verlag, Berlin, 1929]
\nTranslation of extracts for the grant Deutscher \u00dcbersetzer Fond, 2022.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”538″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745330041469{padding-top: 15px !important;}”]La Fabrique de Dante
\n<\/em>P. Allegretti, M. Jakob (eds.)
\nSeveral texts from the German and the English
\nM\u00e9tispresse, Geneva, 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”566″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745328603888{padding-top: 15px !important;}”]Au royaume de la ponctuation
\n<\/em>Christian Morgenstern poem (Im Reich der Interpunktion)
\n<\/em>Illustrations by Rathna Ramanathan
\nParenth\u00e8se, Marseille, 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”560″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745328530443{padding-top: 15px !important;}”]R\u00eaver des \u00eeles
\n<\/em>(Island Dreams)
\n<\/em>trans. with L. Cantagrel<\/a>
\n<\/em>Francis Gavin
\nAutrement \/<\/a> Flammarion, Paris, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”124″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745324664470{padding-top: 15px !important;}”]Bordet <\/em>(Der Tish<\/em>)
\n(OV Yiddish and French)
\nIda Fink, translation of the play (surtitles) into Swedish
\nCompany Troim Teater, Paris, 2019.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”121″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745324730122{padding-top: 15px !important;}”]Dans le labyrinthe
\n(OV Swedish, In i labyrinten)<\/em>
\nSigge Eklund
\nPiranha, Paris, 2017.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1604666011416{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”120″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745324785814{padding-bottom: 15px !important;}”]Bonobo Club<\/em>
\n(OV Swedish St\u00f6ld av babian<\/em>)
\nAnna Karolina
\nPiranha, Paris, 2017.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”90″][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/3″][vc_column_text]<\/p>\n

Regular M<\/span>issions and Collaborations<\/h2>\n

[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”340″ img_size=”full” qode_css_animation=””][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1594655810748{padding-top: 25px !important;}”][vc_column_text]<\/p>\n

Musicology texts, notices, artist biographies for
\nHarmonia Mundi<\/a>
\nNa\u00efve<\/a>
\nMirare<\/a>
\nand for the Deutscher Musikrat (German Council for the Promotion and Production of Contemporary Music) with echoo<\/a>, since 2016[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_empty_space height=”60″][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column width=”1\/3″][vc_column_text] Specialized Books [\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”345″ img_size=”full” qode_css_animation=””][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1594655675918{padding-top: 25px !important;}”][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=””][vc_column_inner width=”1\/4″][vc_single_image image=”501″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1745327246620{padding-bottom: 30px !important;}”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]La Ville et son sol Hans Bernoulli (townplanner) M\u00e9tispresses, Geneva,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":20,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-181","page","type-page","status-publish","hentry"],"yoast_head":"\nReferences (extracts) - Martine Sgard<\/title>\n<meta name=\"description\" content=\"Martine Sgard Translation Referenses: specialized books, papers, townplanning, achitecture, fine arts, literature, poetry, play, musicology\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/martinesgard.com\/en\/references\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"References (extracts) - Martine Sgard\" \/>\n<meta property=\"og:description\" content=\"Martine Sgard Translation Referenses: specialized books, papers, townplanning, achitecture, fine arts, literature, poetry, play, musicology\" \/>\n<meta property=\"og:url\" content=\"https:\/\/martinesgard.com\/en\/references\/\" \/>\n<meta property=\"og:site_name\" content=\"Martine Sgard\" \/>\n<meta property=\"article:modified_time\" content=\"2025-04-28T11:41:43+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/martinesgard.com\\\/en\\\/references\\\/\",\"url\":\"https:\\\/\\\/martinesgard.com\\\/en\\\/references\\\/\",\"name\":\"References (extracts) - 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