{"id":219,"date":"2025-04-22T00:00:57","date_gmt":"2025-04-21T22:00:57","guid":{"rendered":"http:\/\/wp.martinesgard.com\/wordpress\/referenzen\/"},"modified":"2025-04-28T13:44:36","modified_gmt":"2025-04-28T11:44:36","slug":"referenser-utdrag","status":"publish","type":"page","link":"https:\/\/martinesgard.com\/sv\/referenser-utdrag\/","title":{"rendered":"Referenser (utdrag)"},"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

F<\/span>ackb\u00f6cker<\/h2>\n

[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”85″ 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”503″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]La Ville et son sol
\n<\/em>Hans Bernoulli (statsplanerare)
\nM\u00e9tispresses<\/a>, Gen\u00e8ve, 2025 (ges ut snart).[\/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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”497″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Mamlouks 1250-1517
\n<\/em>Utst\u00e4llningskatalog (med L. Cantagrel<\/a>)
\nMus\u00e9e du Louvre, Paris, 2025 (ges ut snart).[\/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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”493″ img_size=”full” qode_css_animation=””][\/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>Utst\u00e4llningskatalog Fondation Beyerler
\nHatje & Cantz<\/a>, 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”488″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Guillon Lethi\u00e8re, n\u00e9 \u00e0 la Guadeloupe
\n<\/em>Utst\u00e4llningskatalog (med 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”479″ img_size=”full” qode_css_animation=””][\/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>(Landskapsarkitektur)
\nJ\u00fcrgen Weidinger (red.)
\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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”475″ img_size=”full” qode_css_animation=””][\/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, Gen\u00e8ve, 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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”465″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Atlas de l\u2019invisible
\n<\/em>(Atlas of the invisible)
\n<\/em>(Geografi)
\nJames Cheshire, Oliver Uberti (\u00f6versatt med L.\u00a0Cantagrel)
\nAutrement\/Flammarion<\/a>, 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”461″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]R\u00e9nover le b\u00e2ti \u2013 patrimoine et modernit\u00e9
\n<\/em>(Arkitektur)
\nCatarina Wall Gago
\nM\u00e9tispresse, Gen\u00e8ve, 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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”456″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Lovis Corinth
\n<\/em>Utst\u00e4llningskatalog
\nbl.a. bidrag fr\u00e5n P.\u00a0Kropmanns och Gitta Ho
\nGalerie Karten Greve, K\u00f6ln, 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”512″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Cartographie des affinit\u00e9s
\n<\/em>(Mapping Affinities)
\n<\/em>(Geografi, GIS)
\nDario Rodighiero
\nM\u00e9tipresse, Gen\u00e8ve, 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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”447″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Porter le temps\u00a0\u2013 m\u00e9moires urbaines d\u2019un site horloger
\n<\/em>(Sociologi)
\nF. di Pieri
\nBidrag: \u201dLa Chaux-de-Fonds\u201d
\nM\u00e9tispresse, Gen\u00e8ve, 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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”443″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Jardins en images
\n<\/em>(Litteratur och tr\u00e4dg\u00e5rdskonst)
\nM. Jakob, J. Berchtold (red.)
\nBidrag av Erik de Jong
\nM\u00e9tispresse, Gen\u00e8ve, 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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”274″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Architecture 1968. Panorama international des renouveaux p\u00e9dagogiques<\/em>,
\nAnne Debarre, Caroline Maniaque, El\u00e9onore Marantz, Jean-Louis Violeau, fr\u00e5n engelska, M\u00e9tispresses, Gen\u00e8ve, juli 2020, 244\u00a0s.[\/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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”294″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Otto Wagner, Architecture moderne et autres textes<\/em>,
\n(fr\u00e5n tyska, Moderne Arrchitektur), Marseille: Parenth\u00e8ses<\/a>, september 2019, 155 s.[\/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_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”278″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Des jardins et des livres
\n<\/em>(Litteratur och tr\u00e4dg\u00e5rdskonst)
\nMikael Jakob (red.)
\nM\u00e9tispresses, Gen\u00e8ve, 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”303″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Transbordeur photographie histoire soci\u00e9t\u00e9<\/em>,
\ndossi\u00e9 \u201dphotographie et exposition\u201d (fotografi och utst\u00e4llning)
\nbidrag av S. Gasser, G. Schaad, S. Schmeling och M. Willi,
\nTransbordeur n\u00b02, Macula<\/a>, Paris, 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”484″ img_size=”full” add_caption=”yes” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Pierre Puget<\/em> 1620\u20131694<\/em>
\nKlaus Herding
\n\u00f6vers\u00e4ttning av bidrag \u00f6ver Pugetskolan 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”282″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Le cours du paysage<\/em>
\nThe Course of Landscape Architecture
\n<\/em>(Landskapsarkitektur)
\nC. 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=”” css=”.vc_custom_1605628658074{padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”286″ img_size=”full” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Le sol des villes \u2013 ressource et projet<\/em>
\nPanos Mantziaras, Paola Vigan\u00f2 (red.)
\n\u00f6vers\u00e4ttning A. Zutz bidrag
\nM\u00e9tispresses, Gen\u00e8ve, 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

A<\/span>rtiklar \u2013 bidrag \u2013 f\u00f6redrag<\/h2>\n

(utdrag av de fem sista \u00e5ren)[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”94″ 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, essays f\u00f6r utst\u00e4llningskatalog Paul Poiret<\/a> <\/em>(med L.\u00a0Cantagrel)
\nGallimard \/ Mus\u00e9e des Arts d\u00e9coratifs, Paris, (ges ut snart).<\/p>\n

 <\/p>\n

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

 <\/p>\n

L\u2019intime<\/a> \u00b7 de la chambre aux r\u00e9seaux sociaux <\/em>(2024), bidrag f\u00f6r utst\u00e4llningskatalogen
\nGallimard \/Mus\u00e9e des Arts d\u00e9coratifs, Paris.<\/p>\n

 <\/p>\n

WhenWeSeeUs <\/em>(2024), audioguide till utst\u00e4llningen
\nKunstmuseum Basel, Schweiz.<\/p>\n

 <\/p>\n

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

 <\/p>\n

Cordez, Philippe (2023) \u201dLe Golgotha en t\u00eate. Le peigne de Charles le Chauve\u201d, DFK\u00a0Paris.<\/p>\n

 <\/p>\n

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

 <\/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

 <\/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

 <\/p>\n

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

 <\/p>\n

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

 <\/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
\nUniversit\u00e4t Karlsruhe.<\/p>\n

 <\/p>\n

Wagner, Bettina (2022), \u201dKontakthof\u201d<\/a>, texter till \u00e5terupptagningen av Pina Bauschs f\u00f6rest\u00e4llning, Tanztheater Wuppertal\u00a0\u2013\u00a0Pina Bausch.<\/p>\n

 <\/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], publikation av Helmholz Zentrum f\u00fcr Umweltforschung.<\/p>\n

 <\/p>\n

Cordez, Ph., Winter, Evelyne, (2021) \u201dVision et r\u00e9forme\u00a0: les vierges couronn\u00e9es d\u2019Hildegarde de Bingen\u201d, publikation av DFK\u00a0Paris.<\/p>\n

\u00a0<\/em><\/p>\n

Formafantasma Cambio<\/em><\/a><\/p>\n

Texter till utst\u00e4llningen och katalogen Formafantasma
\n<\/em>Museum f\u00fcr Gestaltung (MfG), Z\u00fcrich 2021.<\/p>\n

 <\/p>\n

Schweizer Architekturpreis Beton21
\n<\/em>publikations- och utst\u00e4llningstexter till Architekturpriset Beton21 (med V.\u00a0Meunier)
\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

Literatur,<\/span> teater, poesi<\/h2>\n

[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”96″ 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=”557″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745249744910{padding-top: 15px !important;}”]Kanweiler & Rupf \/ Une correspondance 1933-1945
\n<\/em>[Ein Galerist und sein Sammler]
\n<\/em>(\u00f6vers\u00e4ttning, redigering och korrekturl\u00e4sning av korrespondensen)
\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=”552″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745249690297{padding-top: 15px !important;}”]Manufacture industrielle ou la police de caract\u00e8re de Stefan George
\n<\/em>(Typografi) essay
\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=”601″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745249582220{padding-top: 15px !important;}”]Fransk Bilderbok<\/em>
\nTage Aurell
\n\u00d6vers\u00e4ttning av tv\u00e5 noveller ”V\u00e4gen till Revel” och ”Sanary 24 dec.” Fransk Bilderbok <\/em>F\u00f6rfattarf\u00f6rlaget@Tage Aurell 1970
\n(Ans\u00f6kan till Kulturr\u00e5dets stipendium), ikke publicerad.[\/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=”548″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745248366998{padding-top: 15px !important;}”]Haben sich die Deutschen gewandelt? Die Stimme eines Ungarn.
\n<\/em>Miklos Magyar
\n[Eurasia Verlag 1953]
\n\u00d6vers\u00e4ttning av utdrag och bokrecension, 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=”544″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745248319807{padding-top: 15px !important;}”]Die Pflasterk\u00e4sten. Ein Feldsanit\u00e4tsroman
\n<\/em>Alexander Moritz Frey
\n[Kiepenheuer Verlag, Berlin, 1929]
\n\u00d6vers\u00e4ttning av utdrag f\u00f6r Deutscher \u00dcbersetzer Fond, stipendium 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=”540″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745248272458{padding-top: 15px !important;}”]La Fabrique de Dante
\n<\/em>P. Allegretti, M. Jakob (red.)
\nFlera bidrag (tyska och engelska)
\nM\u00e9tispresse, Gen\u00e8ve, 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=”568″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745248162926{padding-top: 15px !important;}”]Au royaume de la ponctuation,
\n<\/em>Dikt av Christian Morgenstern (Im Reich der Interpunktion)
\n<\/em>med illustrationer av 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=”562″ img_size=”full” onclick=”link_image” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css=”.vc_custom_1745248103051{padding-top: 15px !important;}”]R\u00eaver des \u00eeles
\n<\/em>[Island Dreams]
\n<\/em>Francis Gavin
\n(med L. Cantagrel)
\nAutrement \/ 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_1605005990321{padding-top: 15px !important;}”]Bordet<\/em> (Der Tish<\/em>),
\nIda Fink, \u00f6vers\u00e4ttning till svenska (\u00f6vertitlar) av en teaterpj\u00e4s p\u00e5 jiddisch, f\u00f6r Tro\u00efm Teater, september 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_1745257411473{padding-top: 15px !important;}”]Dans le labyrinthe<\/em> (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_1745257436568{padding-bottom: 15px !important;}”]Bonobo Club<\/em>, (St\u00f6ld av babian<\/em>)
\nAnna Karolina
\nPiranha, Paris, 2017.[\/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

Regelbundna u<\/span>ppdrag och samarbeten<\/h2>\n

[\/vc_column_text][vc_separator type=”normal” border_style=”” up=”5″ down=”0″ color=”#000000″][vc_single_image image=”354″ 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