Harlequin, 1989, acrylic on card, 42 x 60 cm, signed


Includes 16% MwSt.
Delivery Time: not specified

After the fall of the Wall the group continued to produce work in the changed social circumstances. This is largely due to the activities of founder Maximilian Barck, who persisted with “Herzattacke” and continued to edit limited runs of books, while other groups of artists from the former GDR were winding up this type of publication after 1989. This way of working survived in part due to support from two private sponsors who recognised the value of the project and made it possible for the society to expand its activities. This led to the establishment of the Maldoror and Quatre en Samisdat editions in addition to the “Herzattacke” literary and art journal. The society also opened a gallery, mounting regular exhibitions whose opening events featured readings.

The society’s busy activities attracted attention within the Berlin art scene. In the 1990s it mounted an exhibition in the Federal Chancellery, resulting in friendly relations with former Chancellor Gerhard Schröder that continue to this day. In 2005 Maximilian Barck was awarded the highly respected Stomps Prize in recognition of his work.

The literary and art journal continues to flourish despite the tragic death of its original publisher. The healthy outlook for the group’s art projects is due in particular to the activities of editors Heike Willingham, Markus Metke and Simone Katrin Paul who, along with Malte Barck, are perpetuating and building on the work of the publisher.


34 years ago the publisher and poet Maximilian Barck and a group of artist friends founded “HERZATTACKE” in East Berlin. Its aim was to publish poetry, prose, literary essays and original art work that challenged the censorship of the day. From the outset the group’s joint endeavours were a statement against the excessive influence of an indoctrinating state and a subversive insistence on independence. As with other unofficial publications in the former GDR, the group found ways to make copies of their magazines using machines off-limits to most GDR citizens. The artists produced their own individual works and each new magazine was assembled in the apartments of bold society members prepared to support the venture by allowing their private living quarters to be used.