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Before and After Minimalism A Century of Abstract Tendencies in the DaimlerChrysler Collection 2007

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The artistic current known as and methods of European and herehere.. Thanks to this collaboration Minimal Art and especially the American artists; as much among we have been able to present, installations and objects of the those of the postwar generation as for the first time, a panoramic representatives of classicalc1assical 1960s among those contemporaries who display of the pioneering figures Minimalism - artists such as Carl partake in minimalist tendencies of the vanguard predecessors of Andre, Dan FlaFlavin,vin, Donald Judd or invoke European abstraction European and American minimalist and the recently deceased Sol and constructivism as their historiehistoric currents. That said, the exhibition LeWitt - have made such an predecessorspredecessors.. does not focus on "classic"lc1assic" impact on the genre that it is often Insofarlnsofar as one contemplates MiniMinimal mal Art from the 1960s, with perceived as an autochthonous Minimalism from that perspective the exception of the works of Jo and purely North American - more methodological than Baer, Elaine Sturtevant!FrankSturtevant/Frank phenomenonphenomenon.. That said, beyond thematic - it ceases to be solely an Stella, Michael Heizer, since it is the circumstance of its American American current from the 1960s already well represented in SpanishSpanish birth, perhaps Minimalism does and emerges as a characteristic, collections. Classic Minimalism not consist so much in a thematthematicic a sort of minimal common has already been the subject of current but, more likely, in a kind of denominator, in the works of artists numerous exhibitions in Spain pluralismpluralism that is based, aboyeabove all, of highly diverse periods and and the rest of the world, as Dr. on abstraction, constructivism and places. The exhibition, therefore, is Renate Wiehager points out in her formal reduction. comprised of works that embody extensive introductory essay in Based on that argument, the the distant ancestors of Minimalism our exhibition's virtual catalogue. exhibition BeforeBefare and After in European abstract painting of ExhibitionsExhibitions inin Spain range from th1 Minimalism: A Century of Abstract the early 20'20 h century, especially in Mínima/Minimal Art at the Fundación Tendencies in the OaimlerChryslerDaimlerChrysler southern Germany. Itlt also features Juan March (1981)( 1981) to the recent CollectionCol/ection reveals the formal those who havehave incorporated minimalismos at MMNCARSNCARS (2001).('2001). minimalist approaches and the traditions, pictorial abstracts InIn order to show the links typical geometric abstractions of and minimalist tendenciestendencies of that between Europe and thethe United minimalist works in an essentially century and those who continue States, the exhibition reveals a broader context. What is c1earclear is working with these attributes panorama of artists whom, up to that the origin of the procedures into the present day on the two the present day,day, have worked or and methods of minimalist continents. are working with the language practices should alalsoso be sought This contextualization of the of abstraction and with various inin the abstract and constructivist diverse minimalist tendencies isis minimalist tendencies. They are tendencies born inin Europe at the one of the most characteristic each uniquely reinterpretingreinterpreting the th1 beginning of the 20'20 h century. Itlt aspects of the DaimlerChrysler essential characteristicscharacteristics of those reveals thethe many parallels thatthat Corporation's collection, toto which currents and applying themthem toto exist between thethe procedures belong all of thethe works exhibited others thatthat preceded themthem such as

2 Fundación Juan March De Stijl, the Abstraction-Création Stuttgart Academy and Halzel,Hi:ilzel, a group, the Bauhaus or the Zurich true pioneer of abstract art, whose Concrete artists. Like the Hard teachings would later influence Edge painters of California's the professors of the Bauhaus.Bauhaus. Abstract Classicism or the With selective criteria and growing extremely new Neo Geo, they keep internationalization, the collection, their spirit alive and maintain their comprised of approximately methodological characteristics. 1,5001,500 works by some 400 artists, The exhibition, which occupies has continued to expand its the entire second floor of holdings of art by the Abstract­ the Museu d'Art Espanyol Constructivists, Conceptualists and Contemporani de Palma, was Minimalists. They alalsoso promote and organized in clasec10se collaboration develop scientific documentation,documentation, with Dr. Wiehager, Director of the cataloguing and study and collection, and includes 64 works disseminate this information via by 41 artists. The vast majority are publications and exhibitions and, paintings but there are also graphic in some cases, as in this one, in works, sculptures, installations cooperation with other collections, and videos by European and institutions and museums around North American artists, from the the world. earliest works of Adolf HalzelHi:ilzel The Fundación Juan March (1853-1934), noted teacher at the would like to thank the Stuttgart Academy, to artists such DaimlerChrysler Collection for as Vincent Szarek (b. 1972). making this exhibition possible and Distinct from other modern especially to Dr. Renate Wiehager and contemporary art collections and her staff for their extraordinary with more general objectives with collaboration in every aspect of its regard to their representation of organization. art, the DaimlerChrysler Collection, as of 1977, took advantage of Fundación Juan March the presence of Daimler-Benz Palma, May 2007 AG in Stuttgart - although it alsoal so has headquarters and plants worldwide - and focused their collecting on the origins of abstraction. They focused on the Fundación Juan March 3 BefareBefere and After Minimalism: the ExhibitionExhibitien

An introduction to the exhibition in 1933 - and then as head of lntroductionIntroduction is provided by Josef Albers the design department at ValeYale (1(1), ), who played an important University in Connecticut, Albers role in transmitting new artistic influenced severa!several generations of concepts to the United States. As artists in Europe and the United a former student and teacher at States. Albers' works eexaminexamine the the Bauhaus beforebefore World WaWarr 11, correlation between form and color as a teacher at Black Mountain structures that he visualized in College, North Carolina-Carolina - after serial sequences. emigrating to the United States A surprising dialogue between

the relationship between color and formoform. In his 19631963 book lntInteractioneraction of Color he set down his theoretical thoughts on color effects, which are demonstrated in his well-known painting series "Homage"Homage to the Square"Square" (see 16).

~ (3) John M Armleder,Armleder, of artists like BarnetlBarnett Newman Avec les deux lustres (FS), while the lamps,lamps, which brin9 (With Both Chandeliers to mind halos, comment (FS)), 1993. In his "Furniture"Furniture ironicallyironically on Newman's Sculptures"Sculptures" (FS) series, avowed transcendentalism, Armleder fusesfu ses abstract further underscored by the painting with everyday objects employment of the sacred - itemsitems often found by chance,chance, triptychtriptych formoform. at fleaflea markets forfor example,example, thatthat reveal tracestraces of theirtheir use. InIn thisthis work,work, thethe centralcentral cancanvasvas paraphrases thethe c1assicclassic American Color Field paintings

4 Fundación Juan March ~-+ (1) Jose!Josef Albers,Albers, 000Otto Meyer-Amden (2) and John M thethe aim ofof elueidatingelucidating points of Formula/ion:Formulation: Articula/ion,Articu/ation, ArmlederArm leder (3) serves as a prelude refereneereference and formal eonnectionsconnections 1972. TheThe silkscreensilkscreen colorcolor prinls shown here are part of to the Modernists from the circle of (as wellwell as makingmaking an oeeasionaloccasional prints shown here are part of Adolf Holzel's Stuttgart Academy ironie eommentary). a double portlolioportfolio containingcontaining Adolf Hi:ilzel's Stuttgart Academy ironic commentary). 127 prinls created by Albers and sets the stage for the artistie 127 prints created by Albers and sets the stage for the artistic in !he final years of his life. confrontatJons seen throughout in the final years of his life. conf rontations seen throughout RepresentingRepresenting his manymany the exhibítion.exhibition. Arranged partiallypartially in pictoria!pictorial series -- among them chronologicalchronological ardeorder,r, the exhibitionexhibition 'Homage' Homage toto the Square'Square" -- thethe contrasts works by historieaJhistorical portlolioportfolio is a summationsummation 01of predecessopredeeessorsrs aandnd laterlater artists w1thwith his more thanthan 40 yearsyears 01of connnuouscontinuous exploranonexploration 01of

~-+ (2) OttoOHo Meyer-Amden,Meyer·Amden, stained-glassstained-glass churchchurch windowwi nd ow Vorbereitung, Teilkomposition,Tei/komposition, lhatthat unlortunatelyunfortunately was never (Preparatlon,(Preparation, Partia!Partial rea!ized.real ized. Composition) 19281928.. ThemesThemes 01of devotion, meditalionmeditation and humanity occupied Meyer­ Amden almostal most exclusivelyexclusively throughoutthroughout hishis life and are represented here in ththisis scene of01 youngyoung monks in a relectory.refectory. TheThe work is one 01of severalseveral studiesstudies hehe carried outout lorfor a commission lorfor a

Stuttgart Early 201hth-eentury-century works to Kandinsky. Stuttgart associated with the Stuttgart Holzel'sHi:ilzel's teachingsteachings were Roots AeademyAcademy and the Bauhaus are influencedinfluenced by his theory of thethe presented here. Stuttgart was thenthen ·primacy"primacy of artisticartistic means~means," which anan important artart center and Adolf encompassed thethe isolationisolation of color,color, Holzel,Hi:ilze l, who taught at the Academy line and surface as equalequal elementselements from 19061906 to 1918,19 18, was a pioneer of thethe pictorial composition.composition. As a of AbstractAbstract Art who already had teacher,teacher, he had intenseintense exchangesexchanges taken stepssteps towards abstract with his students who gathered compositionscom positions in 19051905 - priorprior even around him inin thethe so·calledso-called "H61zel"Hi:ilzel

Fundación Juan March 5 Circle." eexample.xample. SoSomeme of HolzeJ'sHolzel's other students. Based on his teachings,teachings, many students would later become of his students became abstract revered Bauhaus teachers, such as artists and, like Holzel himself, first Johannes Ittenltten (4). He was Holzel's used representation as a starting assistant and later developed his point, as can be seen in works by famous Bauhaus pre-course based artists such as Willi Baumeister on his teachings. The Bauhaus (11, 12,12, 13), MaxMax Ackermann artist Oskar Schlemmer also hailed (7) and Ida Kerkovius (14).(14). Ottoatto from the Holzel Circle (5, 6); and Meyer-Amden (2) is a further Josef Albers was one of Itten'sltten's

as a Bauhaus teacher, alalso revealsreveals this affinityaffinity between the human figure and the architecturalarchitectural space. Itlt is part of a series,seri es, showing persons from behind ascendingascending a staircase, that cuculminatedlminated in his cecelebratedlebrated 19321932 painting of the Bauhaus staircase.

-+~ (8, 9, 110)O) Adolf Holzel, figures, to Baumeister'sBaumeister's Der barmherzige Samariter,Samariter, Der barmherzige Samariter surreal color forms orortoto HalzelHiilzel arranged the figures (The(The Good Samaritan), ca. the Concrete pictures of to form an imaginary triangle 11909;909; Komposition (Figuren(Figuren Graeser, whowho were allall pupils and ccreatedreated aann abstractabstrae\ imim Kreis - Anbetung) of HalzelHiilzel in Stuttgart.Stuttgart. The painterly space by means ofof (Composition - Figures in a keykey Iieslies in Halzel'sHiilzel's stringentlystrin gently the linearlinear interlocking of the Cirele),Ci rcl e), ca. 1923;1923; Drawings,Drawings, rational figural compositionscompositions color surfaces. Komposition ca. 1930.1930. Víewing Halzel'sHiilzel's and in the reduced surface is among the laterlater works that religious paintings (8), it structuresstru ctures of the backgrounds HalzelHiilzel preferred to create is virtuallyvirtually impossible to of his pictures as wellwell as hishis with pastel crayons and that comprehend how such works academic teachings based form a reference point for the could lead to Schlemmer's on colorcolor theories and the abstract tendencies of the representationrepresentation of stereometric development of forms.forms. In DaimlerChryslerDaimlerCh rysler Collection.Collection.

Puritanism, he then created abstractionabstraction of the human softer, more organicorganic forms figure and the structuring of better suited to portray the the pictorial surface. Until the human figure in movement In llateate 1920s,920s , Halzel'sHiilzel's works fact,fact, the theme\heme of sports was a directly reference architecture subject he had llongong dealt wwithith in which the human figure in his work.work. Figure Staircase becomes an integral part of forms part of a group of early the surroundingsu rrounding space. Iithographslithographs utilizing black Iineslines and crosscross-hatchings-hatchings on tinted paper. These works provided him with the appropriate form of expression for the

6 Fundación Juan March ~ (4) Johannes Itten,ltten, -+ (5, 6) Oskar Schlemmer,Schlemmer, - manifests the central role Jüngling (A Youth), 1949. Design for a WallWal l Painting, of the human figure in his Varying planes of color, 1930; Treppe mit zwei work.work. Itlt showsshows Schlemmer's outlined in black, form the Figuren und Kopf (Staircase rendition of the typified human contours of a young, human withwith TwoTwo Figures and Head), bein9 integrated into a spatial face in frontal view.view. Itlt isis a ca.ca. 19241924.. As Schlemmer concept in which architecture prime example of the figurative wrote, "Representing"Representing the and the human form painting carried out in equal human form will always be complement one other in a measure by Ittenltten alongside the artist's great parable," and universally conceived conceptoconcept. his pure abstractions, each this large-format mural sketchsketch In it,it, depth is implied by means influencing the other. (5) - intended as a frieze of the superisuperimpositionmposition of for the Berlin home of the figures. An earlier studystudy (6), architect Erich Mendelsohn produced during his years

-+ (7) Max Ackermann, oeuvre - in primary colors as Chromatisch raumlich wellwell as black and white.white. (Spatial Chromatic), 1937. The musicality of Iineslines in Ackermann's works as well as the elementary contrast of line, form and color is seen in this verticalvertical canvas - whichwh ich was probably intended as decoration for a cabinet door. Itlt employs Ackermann's overlapping "co"colorlor form keys" - which recur throughout his

-+(11,12,13)Willi-+(11, 12, 13)Willi to cast shadows. While the Baumeister, Ruhe und theme of "rest""rest" is impliedimplied by Bewegung (Rest and means of a strict geometry Movement),Movement), 1948; Laufer mit of the forms, "movement""movement" is sitzender Figur (Runner with conveyed via the changing Seated Figure),Figure), 1934-35;1934-35; relationship between figure Ohne TitelTite/ (Figurentreppe t)/) and groundground.. Laufer mit (Untitled (Figure Staircase 1)) sitzender Figur belongs to 1920. Ruhe und Bewegung a group of works produced conveysconveys its subject matter after BaumeisterBaumeister assumed via the playplay of abstract forms his professorship in Frankfurt that seem to float on the in 1928. Turning away from light-blue ground appearing his previous geometrical

-+ (14) Ida Kerkovius, Triptychon (Triptych), 1965. The religious subject matter of TriptychonTriptychon isis most likely a reference to the biblicalbiblical scene of the three Marys at the foot of the Cross: the Assumption of the Virgin with two angelsangels (center), surroundedsurrounded by her sistersister Mary with a shroudshroud on the ground (Ieft)(left) and probably Mary Magdalene watching over Christ's empty

Fundación Juan March 7 tomb (right). Resembling a winged altarpiece, this work The influence of important is one of Kerkovius' late Dialogue: forerunners and early masterpieces.masterpieces. Kerkovius From Bauhaus representatives of Minimalism in uses a colorfulcolorful palette and the United States are seen in this her figuralfigura! compositions are religiously permeated,permeated, to American section. revealing the influence of her Aside from Josef Albers (15, teacher Holzel,Hi:ilzel, with whom Minimalism 16), whose important role as an she remained in clasec10se contactcontad intermediary has been noted, throughout her life. Swiss and German representatives of Concrete Art, and their

to Max Bil!.Bill. He taught at the Hermann GlbcknerGli:ickner (20, 21, 22) 1920s and was a member of Design College in Ulm,Ulm, Germany was another exceptional figure. He the early American AbstraetAbstract - co-founded by Bill after the War worked in complete isolation and Artists alliance. As of the 1940s, - where Albers, among others, had stands out today as the leading Bolotowsky was greatly influenced a teaching position. As an example abstraetabstract artist of the former EastEast by Piet Mondrian's Neoplasticism, of their far-reaching influence, a Germany. thus illustrating how c10selyclosely contemporary work by the English One of the forerunners of tied American Geometrical artist Liam Gillick (25) has been Minimalism in America was Ilyallya AbstraetionAbstraction was to European integrated into this circle of Bolotowsky (19), who emigrated developments. California HardHard Concrete artists.artists. to the United States during the Edge representatives Frederick

+- (15, 16) Josef Albers, Nesting Tables,Tables, 1926-271926-27 (Re-edition Vitra,Vitra, 2005); Study for Homage to the Square: "Opa/escent", 11962.962. The nesting tables were designed by Albers in the 1920s,1920s , a period during which he,he, in his role as the head of the Bauhaus furniture workshop (1928-29),(1 928-29), increasinglyincreasingly also dealt with furniture design.designo He followed produce paintings in series does not threaten to tilt, rise develops outwards in a spiral. that are dedicated to the or fall off in any direction.direction. The prints representrepresen! his first study of color movements Piet Mondrian, whom Bill systematic series. on the basis of elementary met in 1932,1932, conceived the geometric shapesshapes.. Due to rhomboid around 1926-31.1926-31. its arrangement of colors, The Variationen (18)( 18) can be Verdichtung zu caput understood as a kind of visual mortuum possesses a lesson for the viewer on the balanced weighting of this production and construction of format;formal; the tonality seems to arlworks.artworks. The 15 Iithographslithographs stabilize the colors grouped illustrate the conversion of around the inner rectangle, an equilateral triangle into which meansmeans that the picture an equilateralequilateral octagon as it

8 Fundación Juan March geometrically reduced pictorial Loewensberg (30) and Camille who had a clasec10se connection to Max concepts, also were referenced Graeser (26, 27). The latter was Bill; both belonged to Abstraction­ by many subsequent generations one of Hblzel'sH6lzel's students, as was Création, an alliance of abstract of artistsartists.. An extraordinary figure Adolf Fleischmann (31, 32), who artists founded in Paris in 1931. inin this regard isis the Swiss-bornSwiss-bom forged a further link to America After a brief penodperiod of study at the Bauhaus student Max BillBiII (17, when he emigrated there during Bauhaus, Friedrich Vordemberge­ 18, 24), who founded the Zurich the early 1950s19505.. Hans Arp (33, Gildewart (28), the most important Concrete group during the late 34), whose works representarepresent a more representative of Concrete Art in 1930s.19305. ltsIts members included organic form of abstraction, also Germany, also joined Abstraction­ Richard Paul Lohse (29), Verena was a former Bauhaus student Création and was closelyc10sely linked

Hammersley (23) and Karl the other hand, emerged as one of BenjaminBenjamín (35), who came to the Albers' students and was an early fore in the 1959 exhibitionexhibition Four representative of Minimalism in Abstract C/assicists,Classicists, prepared the New York during the 195051950s and path for American Minimalism wwithith 1960s. their geometrical color fields and sequences, their formal economy, the perfection of their paint application and their reliance on the object. Oli Sihvonen (36),(36), on

the!he same principies as he did viewer perceives the colorscolors -+~ (17,( 17, 18) Max 8111,Bill, in his paintings, i.e,i.e., to achieve differently.differently. ThisTh is playplay of colorcolor is Verdichtung zu caput 'maximum' maximum use with minimalmin imal also present inin his celebratedcelebrated mortuum (Compaction into meanmeans.'s.' Albers producedproduced paintingpai nting series 'Homage' Homage to the caput mortuum),mortuum), 1972- t!hehe originaloriginal versionversion of the Square'Square' (see(se e alsoal so 1),1), whichwhich 73; Ouinze variationsvariations sur nesting tables for !hethe BerlinBerl in isis based on a grid ofof !hreethree un mémememe théme (Frfteen(Fifteen homehome of !hethe psychoanalysts orfouror tour interlockinginterl ocking squares.squares. Variations on a Single Fritz and Anna Moellenhof. Opa/escentOpalescent isis but one of Theme),Theme), 1935-38.1935-38. InIn the latelate TheyThey representrepresent a furtherfurther more !hanthan 1,0001,000 variationsvari ations 1940s,1940s, Bi1IBill first began rotatingrotating applicationapplication of hishis studystudy ofof he createdcreated on ththee !heme,theme, canvases loto !histhis diamonddiamond colorcolor effects. OependingDepending onon representing !hethe summationsummation of shape,shape, callingcalling !hemthem 'Spitze'Spitze whetherwhether the\he tablestables are shownshown his colorcolor !heorytheory studies.studies. Bilder'Bilder" (poinled(pointed pictures). separatelyseparately oror togethertogether the He simultaneouslysimultaneously began loto

Fundación Juan March 9 -+ (19)(19) lIyallya Bolotowsky,Bolotowsky, followerfollower inin thethe United States. LargeLarge Black,8/ack, Red and White Bolotowsky combined his Diamond,Diamond, 1971. Bolotowsky,Bolotowsky, 'shaped''shaped' canvases -- here who was of Russian origin rhomboid-shaped - with and livedlived inin thethe United States simplifiedsimplified compositions whose asas of 1923, began producíngproducing plain horizontal and vertical abstraetabstract paintings inin thethe surfacessuriaces were indebtedindebted to 1930s.1930s. InIn the mid-1940s Neoplasticísm'sNeoplasticism's goal of a he began to create works harmonic idealideal of orderarder and based on Piet Mondrian's balance. principies of Neoplasticism and ultimately became Mondrian'sMondrian's most influentialinfluential

through whichwh ich he examinedexamined is based on the diagonaldiagonal -+ (23) Frederick of a basic grid of nine the spatial potential of strietlystrictly folding of a reetanglerectangle Hammersley,Hammersley, SoSourceurce,, squares into each of which systematized and reduced that - balancíngbalancing on the 1961963.3. SoSourcurcee belongs to he introducesintroduces a new color or geometrical forms. These tip - unfolds as a form in Hammersely'sHammersely's series of diagonal. However,However, his palette 'Tafeln''Tafeln' anticípateanticipate aspeetsaspects of space.space. After World War 11, geometric paintings, which he remained quite Iimitedlimited here in the 'Faltungen,"'Faltungen," collage-like Glockner referenced his titled 'geometries.''geometries.' They are comparison to the 'organics'' organics' paper foldings that he created 'panel works'works' in his fold­ contemporaneous with two series that complemented the from 1935 onwards and that ings and collages, as can of his other abstraetabstract painting 'geometries.''geometries.' today are considered Glock­ be seen in the two paper seriesseries as wellwell as recurring ner's essentialessential contribution to worksworks exhibitedexhibited here. excursions into figurative 202Qlhih-century art, preparing thethe painting, afterafter he turned to way ferfor the minimalist tenden­ abstraetionabstraction in the latelate 1940s. cíescies of the 1960s.1960s. Faltung 1I TheyThey are usually composed

out on basic monochromatic suriacessurfaces.. Komplementare Dis/okationDislokation displays complementary color contrasts that are isoisolatedlated from one anotanother.her. Harmonika/eHarmonikale Konstruktion belongs to the group of so-called ''Ioxodromicloxodromic compositionscompositions'' - obliqueobliquelyly evoevolvinglving motifs - thatthat Graeser produced between 1947 and 1955 thatthat deal with thethe subjectsubjeet of ''diagonaldiagonal shifting.'

10 Fundación Juan March +-~ (20, 21,21,22) 22) Hermann Glockner, Faltung 1I (Fold 1)1),, original form: 1934, 11967/75;967/75; Vertikal (Vertical), ca 1972; Vertikal und Horizontal (Verti­ cal and Horizontal), ca. 19721972.. Gl6ckner'sGIOckner's sculpture, Fold 1I (20), whichwhichlollows follows an early cacardboardrdboard model, belongs tolo his so-called 'Tafe'Talelwerk'lwerk" (fold­(Iold­ ed cacardboardrdboard panels, called 'Tafeln")'Taleln') thatthal he developed between 1930 and 1935, and

~ (24) Max Bill8i11,, Trilogie (Trilogy), 1957. The series of threeIhree relaledrelated prints thatIhat comprise Trilogie represents theIhe opticaloplical effecleffect of theIhe contrasting relationship 01of three secondary colors:colors: viole~violet, green and orange. Here they are each arranged differently on aann unvarying motilmotif 01of two same-sized squares on a relatively largelarge ground.

+-~ (25) Liam Gillick,Gillick, Gillick plays with Ihethe ~ (26, 27) Camille Graeser,Graeser, ProvisionalProvisional Bar FloorlCeiling,Floor!Ceiling, borders between abstraclabstrae! KomplementareKomplementiire Dis/okationDislokation 2004. Gillick's architeclurallyarchitecturally picluresquenesspicturesqueness and (Complementary Dislocation), conceived floor piece, concrete spaciousness that 1972; HarmonikaleHarmonikale constructed 01of palettes 01of constantly conlextualizecontextualize KonSlrul

~ (28)(28) Friedrich was locating the corredcorrect Vordemberge-Gildewart,Vordemberge-Gildewart, distancedistance between two poinlspoints Komposition no. 219 or colors.colors. As Ihisthis work reveals,reveals, (Composilion(Composition No. 219),1962.219), 1962. Ihesethese concerns continued toto In Ihethe 1920s, Vordemberge­ occupy him throughoulthroughout his Gildewart developed a striC\strict lilelife and they are apparenlapparent inin construC\ivistconstructivist and precisely Ihisthis latelate Komposition 01of wide calculaledcalculated method 01of painting verticalvertical stripes.stripes. founded on Ihethe principiesprincipies 01of geomelricgeometric abstraclionabstraction inin which everything arbilraryarbitrary and accidenlalaccidental was eliminated. One 01of his moslmost importantimportan! concerns

Fundación Juan March 11 ~ ~ (29) Richard Paul an early example. In order toto Lohse, Eine und vier gleiche avoid the slighlestslightest impressionimpression Gruppen (One and Four Equal of artistic lnluilionintuition or Groups), 1949/68. sponlaneity,spontaneity, Lohse deflneddefined thethe Lohse developed his individual parameters of each sophislicatedsophisticated theoriesIheories on work beforere starting to paint autonomous, concrete paintin9painting Numeric relalionshipsrelationships form during Ihethe early post-war years Ihethe foundationfo.undation 01of his paintings, and, as of 1943, occupied determiningdeterminin9 thethe format,format, himself almost entirely number, and widlhwidth 01of each wlthwith horizontal and vertical stripe, thethe number of colors as arrangemenls,arrangements, 01of which Eine wellwell as thelrtheir arrangementarrangement. und vier gleiche Gruppen is

paintings also reveal the Ihethe colors so as to add furtherfurther influence 01of Mondrian's rhylhmicrhythmic and musical elemenlselements idealistic pieloríalpictorial concept of loto his compositions. horizonfal-verticalhorizontal-vertical order as a fundamentalfundamental expression of01 lilelife as well as theIhe vibrating movement 01of color. Fleischmann developed Ihisthis Mondrianesque balance and play of torcesforces between Ihethe líne,line, quantity and quality 01of

~ base fitlinglyfittingly complemenlingcomplementing ~ (35) Karl Benjamín,Benjamin, Red, its sculpturalsculplural curves. White & 81ack8/ack 88rs,Bars, 1959. Benjamin's painting systemically arranges black and white bars beside and atop each other on a red ground so Ihatthat the entlreentire composition follows the oblong format.format The resulting oplicaloptical play between loregroundforeground and background creates a rhylhmrhythm throughout the entireenlire piclurepicture surface. The bars form

surroundingsurroundíng mountains and interplay 01of the forms on Ihethe the shadows they castcast. As pielorialpictorial ground appear more active forms Ihatthat constanllyconstantly like a moving environmenlenvironment Dialogue: Minimalism in change based on one's Ihanthan as slallcstatic fields. viewpoin~ viewpoint, the ellipses here European and American seemingly cause the two Contemporary Art halves of the pielurepicture to Contemporary Art genllygently vibrate. In addltion,addition, the!he brillianlbrilliant color contrasts make Ihethe colors almost shimmer, provoking afterimages on the relinaretina. Sihvonen's art demands aeliveactive seeing insotarinsofar as the

12 Fundación Juan March +- (30) Verena anandd dominance of exexternalterna! -+ (31, 32) Adolf Richard Loewensberg, Ohne formform iiss uunderminedndermined by thethe FleischmannFleischmann,, OhnOhnee Tttel17tel (Untitled), 11970-71.970-71. stepped colored bands iinn thethe Tttel17tel (Untitled), ca 1950; LLoewensberg'soewensberg's painting upper thirdthird of thethe painting. Triptychon #505, #506 #506,, belongs teto a series of works The consconstructivetructive didissolutionssolution of #507, Planimetric Motion fromfrom thethe 1970s19705 dealing witwithh thethe sqsquareuare - colocolorr penetrating (Triptych #505, #506, #507, thethe movement of color aandnd formform - stops at precisely thethe PlPlanimetricanimetric Motion),Motíon), 1961. the rotation of form arouaroundnd a pointpoínt whewherere thethe 'defo"deformation"rm ation' B80thoth of these works bring teto blank centecenter.r. In it,it, thethe dirdirectionection becomes obvioobviousus and mind the cubist compositions ·. of the bands are ddevelopedeveloped effectiveeffectivelyly sets itit floating. of Br8raqueaque inin theirtheír systematic agaagainstinst the aaffirmativeffirmative arrangement of the ssurfacesurfaces eemphasismphasis of the ssquarequare cacanvasnvas in inteintertwiningrtwining LL-shaped-shaped in ssuchuch a manner that the unity elements. FleiFleischmann'sschmann's

+- (33, 34) Hans ArpArp,, these worksworks.. TheThe two objects ChapeauChapeau-nombril-nombril (Navel HHat),at), reveal the ttransformationransformation in 1924; Coryphée (Coryphe), ArpArp's's work from a surrealistic 1961961.1. Arp's work ties into teto an anthropomoanthropomorphicrphic the most iimportantmportant artistic figurativenessfigurativeness.. The early movements of the earearlyly 20th ChapeauChapeau-nombril-nombril is an centurycentury:: DDada,ada, Surrealism aandnd organic configuration the earlearliestiest trends in Abstract compcomprisedri sed of a circulacircularr form AArtrt HiHiss oeuvoeuvrere intintellectuallyellectually aandnd a silhouetted profileprefile rerevolvesvolves arouareundnd two centcentralral rresemblingesembling that of a hat.hato In artartisticistic formforms:s: the oorganicrg anic cocontrast,ntrast, Coryphée iiss clearlyc1early worworldld of plplantsants anandd the humhumanan rreminiscenteminiscent of the human figure as cacann be seen in figure witwithh ititss black granite

the visible detail of a +- (36) Oli Sihvonen,Sihvonen, potentially continuous DoubleDoub/e Matrix - Pink,Pink, Green,Green, and serialseri al pattern.pattern. 19681968.. DoubleDoub/e Matrix - Pink,Pink, Green belongs tote the series of elliptical paintings that Sihvonen began producingprod ucing inin the late 19405.1940s. They date back tote his stay at an artists' communitycom munity in Taos, New Mexico.Mexico. There Sihvonen,Sihvonen, who had been a student of Josef Albers,Albers, developed abstractabstract forms based onen the

Works by artists showing diverse ColiegeCollege during the 19405,1940s, Noland also belonged, employed minimalist tendenciesteAdencies inin American emerged during the 195051950s as a thisthis technique in theirtheir works datingdating and European art from the 195051950s representativerepresentative of the so-caliedso-called from the 19605.1960s. to the present day are gathered in Washington Color School. He Along with paintings by Sean this section, where the artistic Iinkslinks achieved a perfect merging of SculiyScully (45) and Michael Heizer between Europe and the United paint and cancanvasvas by means of (42)(42)-- who isis primarily known asas States again become noticeable. his technique of using unprimed one of the founders of 196051960s Land Kenneth Noland (47), who canvas,canvas, which absorbed the paint Art - works by three women artists studied under Albers and Various representatives of so-called are also represented: Jo Baer Bolotowsky at Black Mountain Post Painterly Abstraction, to which (41) was one of the few women

Fundación Juan March 13 artists who asserted herself on the a representative of Monochrome thethe contemporary artistartist Julian 1960s New York art scene. InIn a Painting and was part of an Opie (43) has occupied himself c1assicalclassical Minimal Art environment informalinformal grouping of European with architeeturearchitecture based on the that primarily concentrated on and American artistsartists there that aesthetics of computer games objeets,objects, Baer defended painting. was laterlater charaeterizedcharacterized as Radical since the early 1990s and isis InIn 1964, Elaine Sturtevant (38) Painting. represented here by one of thosethose began creating exaetexact duplications Two British artists are alsoalso works, an architeeturalarchitectural sculpture.scu lpture. of works by contemporary artists featured: Jeremy Moon (44) was Meir Eshel,Eshel, a contemporary in various media.media. Marcia HafifHafif (46) the leadingleading Minimalist painter artist from IsraelIsrael known by his emerged in 1970s New York as in LondonLondon in thethe 1960s, whilewhi le pseudonym Absalon (39), was

+- (37) Vincent Szarek,Szarek, Szarek's sculpturessculptures look ~ (38) ElaineElaine Sturtevant,Sturtevant, GoldGold Teeth,Teeth, 2005. Szarek as though they fell from StellaStel/a ArundelArunde/ CastleCast/e develops his sculptural thethe sky and were formed ((Study),S tudy), 1990. Sturtevant objects around computer­ aerodynamicallyaerodynamically by means has devoted her attention to generated designs, which of air resistance.resistance. HisHis "Gold the concept of the "original"original he creates on a production Teeth' series is, inin fact, as a ready-made,'ready-made,' recreating line especially designed based on designdesign elements the production process of by him.him. The lacquered of the Mercedes-Benz SLR.SLR. important artworks. HereHere it is fiberglassfiberglass objects appear as FrankFrank Stella'sStella's ArundelA rundel CastleCastle the ultimate manifestation (1959),( 1959), a workwork that belongsbelongs to ofof formoform. Seamless,Seamless, with hishis seriesseri es of "black paintings'paintings" luxuriouslyluxuriously luminousluminous surfaces whereinwherein hehe did away with thethe and made of a singlesingle piece, representation of illusionisticillusionistic format and developed small PrPropositionoposition d'd'HabitationHabitation living units, so-called "ce"cellslis,',' ((1991) 1991) shows how life within that were tailor-made to suit a cell can be achieved with the size of his own body and cubist-shaped objects that equipped with the elementary can be used as various kinds necessities of llife.ife. DDispositionisposition of furniture. Absalon's goal of (1(1998), 998), for eexample,xample, can integrating his habitat cells be seen as a sheshelvinglving unit, within international urban in the sense of functional structuresstructures and livilivingng in them furnishings, but it can also be temporaritemporarilyly was nneverever rearealizedlized removed from thethe context of due to his early deathdeath.. daily lIifeife and understood as a Minimalist object.object The video scanning the painted surface, Baer was successful in giving +- (42) MMichaelichael HHeizer,eizer, which continues over thethe sides the medmediumium a visual presence UUntitledntitled No. 5, 11975.975. of the canvas. Baer defended with a physical radianceradiance.. UUntitledntitled No. 5 belongs to the importanceimportance of painting Heizer's second period of inin the context of Minimal painting, which he took up Art, although Minimal artists again afteafterr woworkingrking exclusively vehemently protested against on LLandand Art projects between itit as a relevant art form.formo By 11967967 and 11972.972 . TheThe large,large, asserting thethe rorolele of painting verticaverticall cacannvas presepresentsnts thethe as an object by devedevelopingloping an rreciprocaleciproca! opposoppositionition of a anti-illusionistic painting style, symmetricasymmetricall monochrome colocolorr pplanelane and a pale ground, causing thethe inneinnerr fieldfield and thethe

14 Fundación Juan March active during the 198051980s and, until his early death in ParísParis in 1993, dealt with the role of architecture in designs for living spaces (39). A wall piece by the youngyoun¡:¡ New York artist Vincent Szarek (37) epitomizes the íncreasedincreased i{lfluencei~fluence of the signs and structuresjlofof computer aesthetics on artistic production since the 1990s.19905.

pícloríalpictorial space by means own quality. HerHer duplicationsduplícations ~-+ (39, 40) Absalon, of theIhe applicationapplication of black areare notnot copies, but reproduce DispositionDisposition (Arrangement), paíntpaint inlerruptedinterrupted by finefin e lineslin es ínsteadinstead a comprehensíoncomprehension 1998;9g8; PropositionProposition through which theIhe unlrealeduntreated of the conditíonsconditions that make d'Habilaliond'Habitation (Proposal(Proposal canvascanvas shows. By duplicatingduplícating up thethe charactercharacteristicsistics oflheof the for a Habitat), 1991.199 1. TheThe the creatcreationion of theIhe work, theIhe original work. TheyTh ey serve living spaces proposedproposed by artislartist holdsholds up a mírrormirror to 1hethe as a confrontation of the theIhe Israelílsraeli artist AbsalonAbsalon crealívecreative process, reflectíngreflecting original with itsellitself and its are sculpturalsculptural architectonic its uniqueness. SturtevanlSturtevant accompanyingaccompanying theories. realízationsrealizations of existentialexistential reformulaledreformulated their paradigmsparadígms bodiiybodily experiences anchored withoulwithout addíngadding anythinganyfhing to in theories of01 Minimal ArtArt. them becausfi!because the originalsoriginals AlterAfter 1988,1988, he produced stand forlor themselvesthemselves ínin theirtheír works primarily inin miniature

+-~ (41) Jo Baer,Baer, H. Areuala,Arcuata, 1971. H.H. ArcualaArcuata (the botanicalbotanical name of01 an orchidorchid species) belongs to a group 01of paintings made by BaerBaer around 19701970 (she became a member of the Orchid Society at 1halthat tímetime and wrote two essays on the subject). TheyThey are painted with multiple viewpoíntsviewpoints in mind and are hunghung unusuallyunusually low, and Ihusthus can only be read by visually surrounding trameframe tolo engageengage which correspondcorrespond to his -+~ (43) Julian Opie,Opie, On in the cold light of an idealistic ínin a competitivecompetítive relationshíp.relationship. so-calledso-cal led 'Earth"Earth Works.'Works.' average presenlpresent dayda y humanshumans world that linallyfinally funclionsfunctions The colored area definesdefin es the are oneone inehinch shorter than they perfectly because humans are cocolorlesslorless trameIrame that, in turn, is were 80008 000 years B.C.,B. C., 1991.1991. not required. Walking around given a second circumferentiacircumferentiall Opie's architectonic sculpturesculpture ththisis sculpturesculpture evokes fasl­fast­ linlínee by the ou!erouter edges of references De StijlStijl as well as paced, computer-animated the\he canvas. As a result,resul~ thethe the\he minimalistminimalist cubes of Robert journeys throughIhrough uninhabileduninhabited red fiefieldld appears detached, Morris, bulbut with theIhe additíonaddition urban ravínesravines or even the as though floating, creatingcreating of human perspeclive.perspective. Like experience of strolling through the effectef!ect 01of spatiaspatíall depth. hishis other worksworks dealing withwilh theIhe streetsslreets of Manhaltan.Manhattan. Linearity, regularity,regularíty, unity and architectuarchitecture,re, theythey are inspired perfection are theIhe structurastruclurall by the aesthelícaesthetic of standard prprincipiesincipies 01of Heizer'sHeizer's paíntings,paintings, computer games. They stand

Fundación Juan March 15 -+ (44) Jeremy MoonMoon,, Fountain (2/67J, ), 1967. Moon, the leading London minimaliminimalistst painter of the 1960s, soughtsought an optical flow of pictures that seem to be at restrest whilewhi le at the same time give the illusion of outwardoutward movement. Over the spaspann of a decade he developed his painting as a kind of intra-pictorialintra-pictorial monologue. This workwork - one of onlyon ly 13 'Y"Y-pictures"-pictures" created

bars are stacked upon one another, interrupted by anotheranother horizontal structure comprised of strips in .the.the lower half. This picture within a picture does not open up pictorial space but, on the contrary, reinforces the hermeticism that is inherent in much of Scully's paintings. In his work, he seeks to combine abstract geometric painting with individual and intelligible emotion. the "shaped' shaped canvas"canvas" into his work in about 19601960,, throughthrough which he achieves a complete conformity between figure aandnd ground, pictorial content and form with the goal of better expressing color relationships.

the 19805.1980s. Mosset,Mosset, who went to like circles, lines and rectangles.rectangles. New York in 1978, alalso belonged Artists who participated in the to the inner circle of the Radical exhibitionexhibition curated by Armleder Painting group.group. The Austrian included Sol LeWitt (50), a Heimo Zobernig (48) bases his representative of c1assicalclassical 196051960s conceptual, multimedia pieces on Minimal Art, as well as Verena systems of categorizations taken Loewensberg (30), a forerunner from various contecontextsxts such as the - so to speak - and representative alphabet, natural numbers,numbers, primary of Concrete Art. colors,colors, and basic geometric shapes

16 Fundación Juan March ~ inin 19671967 -- revearevealsls hhisis comingcoming -+ (45)(45) SeanSean ScullyScully,, tolo termsterms withwilh thlhee 's'shapedhaped RReded NNight,ight, 11997.997. With hhisis canvases"canvases' ofof thelhe AmericanAmerican vocabularyvocabulary of01 9eometricgeometric HardHard EdgeEdge painters,painters, whosewhose forms,lorms, ScullyScully hashas createdcreated a worksworks werewere shownshown inin LondonLondon systemsystem of01 arderorder withwilh clearlyc1earty forfor thelhe fifirstrst timetime inin 19631963 aandnd structuredstruclured iindividualndividual elementselemenls 11965.965. ThThee paintipaintingng stastandsnds ooutut folorr hhisis papainting.inting. IInn RReded NNight,ight, forlor itsits coloring,coloring, complementarycomplemenlary thelhe rightrighl angleangle isis aa distinctivedistinclive contrastsconlrasts andand dynamicdynamic pictorialpietorial element,elemen~ giving orientationorientation inin spacespace.. thethe workwork an architecturalarchileetural charactercharaeter thatlhal resultsresulls fromIrom thelhe connectionconneclion of01 hhorizontaJsorizontals and verticals.verticals. Dark-red and black

~ completed in 1982. A common ~ ~ (46)(46) MarciaMarcia HafifHatit,, PPencilencil completed in 1982. A common -+ (47) Kenneth NolandNoland,, oonn paper:paper: FFebruaryebruary 7,7, 1974,1974, featureleature of01 thethe drawingsdrawings iiss DrDrahline,aftlin e, 1969.1969. 19741974.. AsAs thelhe initiatorinilialor of01 thethe thelhe attemptattempllo to evenevenlyly covercover DrDrahline,aftline, which belongsOOlongs toto RadicalRadical PaiPaintingnting group,group, HafifHalil thelhe surfacesurface of01 thelhe paperpaper withwilh Noland's ''Stripes'Stripes' series turnedlurned tolo momonochromalicnochromatic prefeprelerablyrably iidenlicaldentical verticaverticall andand (1967-70), respondsresponds tolo our woworksrks duduringring tlhehe latelale 1970s,1970s, eqequidistantuidistant strokesstrokes.. TThehe goalgoal iiss readingreadlng of thethe worldwortd fromIrom which,which, accordingaccording toto HHafif,afif, aa pictorialpiclorial formlorm thatthal isis entirelyentirely leftleft tolo right inIn sequential enabenabledled herher tolo findfind herher wayway freefree of01 theIhe artist'sartist's subjectivesubjective 'lines.'Iines:" The continuousconlinuous bands backback toto thethe fundamentallundamental gestures,gestures, producedproduced solelysolely fromIrom representrepresenl a potentially infinite principiesprincipies of01 paipainting.nting. AsAs aa thelhe possibilitiespossibilities of01 thelhe mediummedlum space that[hal dominates thelhe resuresull,lt, sheshe producedproduced aa groupgroup andand thethe materiamaterials.ls. ssimpleimple nature of theIhe pieturepicture ofof pencilpencil drawingsdrawings begunbegun as a radically reduced body onon JanuaryJanuary 1,1, 11972,972, andand of01 color. Noland introduces

NeoGeo DuringDuring thethe midmid-1- 1980s,980s, a young Neo Geo or New Geometry.Geometry. F0rFor NeoGeo generation of artists began the eexhibition,xhibition, Armleder gathered referencingreferencing Concrete Art again, together works by contemporary often subversivelysubversively and ironically artists, somesorne of whom are breaking with itsits mandates. represented here. The Frenchman StartStartinging wwithith the 1984 eexhibitionxhibition Olivier Mosset (51) and thethe Peinture abstraite curated in Austrian Gerwald Rockenschaub Geneva by the Swiss artist John (52) were among the artists M Armleder (3, 49), the movement who deliberately opposed thethe wwasas soon characterized by the term neo-expressiveneo-expressive tendencies of

~ (48)(48) HeimoHeimo Zobernig,Zobernig, ZZG,ZZO, ZZP,ZZP, ZZG,ZZO, 1986.1986. ThisThis triotrio 01of worksworks onon paperpaper by ZoOOrnigZobernig waswas createdcreated during hishis yearsyears inin Ihethe circlecircle 01of Ihethe VienneseViennese Neo-GeoNeo-Geo inin thethe mid-1980smid-1980s andand isis contemporaneouscontemporaneous wilhwith thethe conceptualconceptual geometricalgeometrical piecespieces hehe producedproduced asas anan antilhesisantithesis toto VienneseViennese Actionism.Actionism. HeHe reducesreduces hishis worksworks loto anan absoluteabsolute mínimum,minimum, usuallyusually

Fundación Juan March 1717 employingemploying everydayeveryday materialsmaterials +-+- (49)(49) JohnJohn MM Armleder,Armleder, paintingpai nting whilewhile simultaneouslysimultaneously (for(for exampleexample thethe adhesivead hesive tapetape UntitledUntitled (FS(FS aO),80), 1985.1985. trivializingtrivializing itit andand dealingdealing withwith usedused here),here), thatthat deliberatelydeliberately Armleder'sArmleder's earlyearly "Furniture"Furniture itit onon anan ironicironic level,level, givengiven revealreveal tracestraces ofof theirtheir hand­hand­ Sculpture'Sculpture' UntitledUntitled (FSaO)(FS80) thatthat thethe panelpanel isis aa commoncommon mademade production.production. InIn hishis work,work, (see(see alsoalso 3)3) makesmakes referencereference materialmaterial usedu sed forfor soundsound ZobernigZobernig oftenoften adoptsadopts anan toto thethe sculpturalsculptural ensemblesensembles ofof insulation.insulation. ironicironic pointpoint ofof viewview inin referringreferring thethe earlyearly AmericanAmerican Minimalists,Minimalists, th toto historichistorie movementsmovements ofof 202Qih­­ butbut theirtheir idealismidealism isis offsetoffset centurycentury AbstractAbstrae! Art.Art. byby thethe useuse ofof aa trivialtrivial piecepiece ofof furniture,furniture, inin thlsthis instance,instance, atableatable foundfound atat aa fleaflea marketmarket. TheThe perforatedperforated panelpanel consciouslyconsciously evokesevokes abstractabstrae! conceptualconceptual stipulationsstipulations ofof thethe avoidedavoided individualizingindividualizi ng hishis wallwall premisespremises ofof thethe wallwall drawing.drawing. creations,creations, which werewere usuallyusually Itlt isis noticeablenoticeable inin thisthis context,context, carriedcarri ed outout byby hishis assistantsassistants oror thatthat thethe pencilpencil gridgrid was byby contractedcontracted locallocal artistsartists who addedadded laterlater toto thethe seeminglyseemingly were givengiven preciseprecise writtenwritten 00 amorphousamorphous formsforms inin blackblack ink.ink. instructions.instructions. LeWitt'sLeWitt's wallwall drawingsdrawings andand paintingspaintings were notnot conceivedconceived o asas permanent,permanent, sincesince inin mostmost casescases theythey were carriedcarri ed outout onon thethe wallwall justjust forfor thethe durationduration ofof an exhibition,exh ibition, andand were paintedpainted over onceonce itit ended.end ed. LeWittLeWitt alalsoso detached fromfrom theirtheir originaloriginal context and recreatedrecreated as a mixmix of graphics and techno­techno­ music.music. Six Animations makesmakes c1earclear how heavilyheavily thethe reservoirreservoir ofof artistic imagesimages hashas been accessed by thethe mass media. InIn other words,words, the abstractabstrae! andand geometricalgeometrical art of thethe 202Qthih century has so permeated thethe worldsworlds of fashion,fashion, graphics and design, thatthat thethe public no longerlonger identifiesidentifies itit as art.

Algerian artist Philippe Parreno founder of Constructive Graphics, De Stijl inin the Netherlands (1917)( 1917) (53), who liveslives and works inin Paris. who belonged to the Zurich and Abstraction-Création inin Paris The color of the gray wall was Concretes during the early 1930s (he was itsits chairman from 1931 to proposed for the Berlin exhibition and was active inin Stuttgart from the 1937).1937). Itlt was during these years by the artist Ben Willikens (56), mid-1930s onwards. Stankowski that Vantongerloo also became who lives in Stuttgart and Munich alalsoso taught at the Design College a c10seclose friend of Max Bill. The and is represented here by one in Ulm after the War. The artist exhibitionexhibition appropriately c10sescloses with of his portrayals of an interior. Georges Vantongerloo (57), from Josef Albers, who is represented Itlt enters into a dialogue with a Belgium, is linked to a number of in this context by a graphically painting by Anton Stankowski, the abstract movements; for example,example, structured picture object showing

la18 Fundación Juan March +-E- (50)(50) Sol LeWitt,LeWitt, UntitledUntitled (Study(Study forfor aa WaflWa/1 Drawing),Drawing), 1993.1993. AsAs oneone 01of thethe primepri me representalivesrepresentatives 01of MinimalMinimal andand Concept ArtArt inin thethe 1960s,1960s, LeWitlLeWitt movedmoved inlointo aa ratherrather sweeping,sweeping, arabesque-likearabesque-like phasephase asas 01of thethe mid-1990s,mid-1990s, asas seenseen inin lhethe presentpresent studystudy larfor aa wallwall drawing.drawing. 1llt was originallyorigi nally palntedpainted onon thethe wallwall 01of anan artart gallerygallery forfor anan exhibltionexhibition andand intendedintended loto demonstraledemonstrate Ihethe

+-E- (51)(51) Olivier Mosset,Mosset, lormin9forming numerousnumerous individualindividual -+-+ (52)(52) GerwaldGerwald Un/itledUntit/ed (Tie(Tic TaeTac Toe Series), 'objects''objects' oulout ofof canvas,canvas, Mosset Rockenschaub,Rockenschaub, Si,rSix 2002. Mosset's TieTic TaeTac Toe queslionsquestions pa.inling'spainting's Iradilionaltraditional Anima/ions,Animations, 2002.2002. SeriesS eries isis a sell-mockingself-mocking rectangularrectangular formalformat andand itsits Rockenschaub'sRockenschaub's vIdeovideo and sell-criticalself-critical summary ofof compositionalcompositional unity,unity, whichwh ich installation,installation, crealedcreated forfor thethe hishis work fromfrom 19681968 toto lhethe herehere isis destroyeddestroyed becausebecause Ihethe SonySony StyleStyle SloreStore inin Berlín,Berlin, present. InIn itit he citescites hishis own workwork isis comprisedcomprised 01of small.small, translatestranslates lhethe formalform al pidorialpictorial earlyearly black-and-whileblack-and-white circleci rcle individualindividual '0'-"o'- andand 'x"-shaped"x'-shaped languagelanguage 01of abstradlonabstraction intointo paintlngspaintings (1966-74),(1966-74), Ihalthat canvasescanvases arrangedarranged inin thethe formform colorfulcolorful computercomputer animalions.animations. herehere becomebecome colorful,colorful, circularci rcular 01of aa simplesimple lic-Iac-Ioetic-tac-toe game.game. InIn thesethese simultaneouslysimultaneously 'shaped'shaped canvases,'canvases,' whilewhile thethe broadcastbroadcast scenes,scene s, othersothers recallrecall hishis painlingspaintings 01of abslraclion'sabstraction's compositionalcompositional largelarge intertwiningintertwining crosses.crosses. ByBy elemenlselements are animaled,animated,

The finalfinal roomroom of thethe exhibitionexhibition reducedreduced means ofof representation.representation. "Review: unitesunites works byby representativesrepresentatives This ensembleensemble was firstfirst configuredconfigured Reconsidering ofof thethe abstract avant-gardeavant-garde withwith forfor thethe DaimlerChryslerDaimlerChrysler Collection thosethose by contemporarycontemporary artistsartists inin anan exhibitionexhibition Classical:C/assica/: Modern I1 Form, Space artísticallyartistically harmoniousharmonious grouping.grouping. (Berlin,(Berlin, 2006).2006). InIn various ways, theirtheir worksworks The works.works, includingincluding thethe spatialspatial and Une" referencereference fundamentalfundamental conceptualconceptual sculpturesculpture byby Norbert KrickeKricke (55),(55), andand formalformal elementselements suchsuch asas thethe are integratedintegrated intointo aa conceptualconceptual preoccupationpreoccupation with "s"space"pace" andand wholewhole byby means of thethe carpetcarpet "Iine,·' line; with thethe latterlatter seen asas aa producedproduced byby thethe contemporarycontemporary

+-E- (53)(53) Philippe Parreno,Parreno, formsforms thatthat seem toto hover inin an 6:006:00PM.P.M.,, 2001.2001. Parreno'sParreno's undefined andand seemingly infiniteinfinite depicliondepiction 01of aa fleldfield 01of lightlight space. inlerruptedinterrupted byby aa lewfew castcast shadowsshadows ontoonto aa carpelcarpet stemsstems fromfrom thethe worldworld ofof Ihethe conceivableconceivable thatthat couldcou ld occuroccur anywhere.anywhere. HisHis work isis charaderizedcharacterized byby Ihethe creatloncreation 01of 'lhreshold""th reshold' siluationssituations thatthat oneone cannolcan not helphelp getllnggetting lnvolvedinvolved inin andand whichwhich hehe describesdescribes as 'narrative"narrative c1ouds.'clouds.'

Fundación Juan March 1919 TheThe carpet can be seen as a ~(54)~ (54) Anton Stankowski, fragment of a mmise-en-sceneise-en-scene Egozenter (Egocenter),(Egocenter), 1952.19 52. for a filmfilm where the viewer Egozenter depictsdepicts thethe abstractabstract ffindsinds hhimselfimself a participant,participant, reproductionreprodu ction of a rotatingrotating peperhapsrhaps eveneven slippingsli pping intointo thethe motor;motor; thethe pictorialpictori al motifmotif isis rolerole of actor. ParrenoParreno usesuses thethe derivedderi ved fromfrom a drivedrive belt.belt. mediummedium of filmfilm as a modelmodel ByBy representingrepresenting thethe dridriveve for hishis artisticartistic thinking, whichwhich beltbelt endsends in a ligliterli gliter shade,shaEle, focuses on workingworking byby way ofof StankowskiStankowski usesuses a techniquetechniqu e exhibitionexhibition itself, ratherrather thanthan onon he alsoalso employedempl oyed in hishis workwork individualindividual objects. as an advertisingadvertising graphicgraphic designer,designer, forfor instancein stance in hishi s ddesignsesigns forfor tytypographicalpographical

-+ (56) Ben Willikens, hishis cchromatichromatic ppalettealette of a space-picturespace-picture cconceptooncept. RRaumaum 371371.. Erich BuchholzBuchho/z graysgrays andand simultaneouslysimultaneously Buchholz,Buchholz, whowho was aaffiliatedffiliated ((Ate/ierAte/ier Herku/esufer 1515,, rethou9htrethought thethe rational,rational, c1ear,clear, withwith ththee BBauhausauhaus artists,artists, was BBerlinerlín 19221922)) (Room(Roo m 371.371. spatialspatial conceptsconcepts ofof thethe Italianltalian influencedinfluenced byby DeDe StijlStijl interiorinteri or ErichErich BuchholzBuchholz (Studio(Studio RRenaissance.enaissance. Influencedlnfluenced by desigdesignn principiesprincipies in creatingcreating HerkulesuferHerkulesufer 15,15, BerlinBerlin hishis stustudies,dies, Willikens'Willikens' paintin9spai ntin9s hishis studiostudio as a unitarianunitarian "art 1922»,1922)), 2004. SinceSince thethe summarizesummarize thethe materialmateri al space:' earlyearly 1970s,9 70s, WillikensWi llikens hashas worldworld of interiors.interi ors. RRaumaum 371 ~ representsrepresents thethe interiorinterior ofof exploredexplored the representationrepresentation ~ : of pictorialpictorial spacespace in EuropeanEuropean thethe studiostudio of thethe artistartist EErichrich 1 painting.pai nting. AfterAfter initiallyin itially BuBuchholz,chh olz, whichwhich isis oneone of producingproduci ng variousvari ous seriesseri es of thethe firstfirst GGermanerm an interiorsinteriors gloomygloomy interiors,interiors, hehe expandedexpan ded conceiveconceivedd systesystematicallymatical ly as

geometricalgeometrical structuresstructures iinn -+ (60)(60) Josef Albers,Albers, space. TheThe colored curvescurves StructuralStructura/ CConstellationonstel/ation F-14, onon a whitewh ite ground seem at 1954.19 54. Albers'Albers' geometricallygeometrically timestimes to attract oror rrepelepel oneone orientedoriented drawingsdrawings aandnd printsprints anotheranother.. ForFor Vantongerloo,Vantongerl oo, standstand in surprisingsurprising cocontrastntrast "s"spacepace"" was one of the to hishis paintings.pai ntings. HisHis "Graphic"Graph ic mainmai n subject mattersmatters of hishis Tectonic"Tectonic" seseries,ries, ddatingating fromfrom artartisticistic enterpenterprises.ri ses. 1941-42,194 1-42, as wellwell as hishis "Structural"Structural Constellations"Constellations" seriesseri es fromfrom 11949,949 , aalsolso known as "Transformations"Transform ations ofof a Scheme,"Scheme,' areare bothboth executedexecuted iinn a mumutedted ppalettealette ooff gray

20 Fundación Juan March brochures, inin which hhee ~ (55)(55) Norbert KrickeKricke,, sciescientificntific discoveries defined crops thethe image.image. The work, Raumplastik (Space(Space as a functionfunction of movement inin therefotherefore,re, shows how closelyc10sely Sculpture), 1956. time,time, which isis made directdirectlyly connected were StankowskStankowski'si's KrKricke'sicke's sculpture belongs teto a visible throughthrough thethe movement dual roles as a painter and group of abstract works begun of liIines.nes. The linesIines expanding graphic artist. Stankowski inin thethe eaearlyrly 1950s thatthat thethe outward fromfrom his sculptures introducesintroduces diagonals and artist cacalledlled 'Raumplastiken''Raumplastiken' were not seen as a closedc10sed curves inin hihiss work, as inin the (Space(Space Sculptures). These graphic system, but meant present painting, inin contrascontrastt bent-wire forms innovativelyinnovatively teto mirror human movements teto the principies of thethe Zurich sesett off thethe relationship inin space, thereby becoming Concrete artartists,ists, with whowhomm between"space'andbetween'space"and energy carriers whose he was closelyc10sely linkIinkeded before "scu'sculpture."lpture.' For Kricke, space impulimpulsesses radiate out aandnd over WWII.INWII. was analogous teto modern into free space.

-+~ (57, 58, 59) Georges The three paintings shown VantongerlooVantongerloo,, Courbes here belongbelong teto a group of (Curves), 1939; FonctionFonction,, works he created after 1936,1936, courbes verles (Function, when he was eneone of the • Green Curves), 1938; leading figures of the French Composition (Composition), abstract artists' association 19441944.. With his involvemeinvolvementnt AbstAbstraction-Création.raction-Création. They are with DDee StijStijll in 1917, composed more rhythmically, Vantongerloo produced representing linesIines and curves woworkrk ststrictlyrictly eonn the basis enon the basis of mathematical of geometric and aalgebraiclgebraic function equations and aarere principies as a means teto based enon hhisis investigations achieve artistic expexpression.ression. into the disposition of shades. They demonstrate seems tote leap about in front the perception of space onen a of the viewer's eyes. flat surface and in them the impression of seeing no longerlonger concurs with the recording of individual elements, but rather the grasping of dominant structuralstructural patterns that are orderedordered intointo a logicallogical whole.whole. In the 'Structural"Structural Constellations,"Constellations,' Albers avoids weightingweighting significant and mar9inalmarginal patterns and thus the structure

Fundación Juan March 21 Works on Display

(1) (7) (13) Josef Albers (1888-1976)(1888-1 976) Max Ackermann WiIIiWilli Baumeister (1889-1955)(1889-1 955) Formulation: Articulation,Articulation, 1972 (1887-1975)(1887-1 975) Ohne TitelTite/ (Figurentreppe(Figurentreppe ()f) (Untitied(Untitled (Figure(Figure Selection from a double portfolio of 112727 Chromatisch rBumlichraumlich (Spatial Chromatic), Staircase 1)),!)),1920 1920 silkscreensilkscreen colorcolor prints 19371937 Lithograph 155.1 .1 x 20 in. each Oil on hardboard 20.3 x 13.613.6 in. 65.8 x 29.9 in. (2) (14) Otto Meyer-Amden (1885-1933)(1885-1933) (8) Ida Kerkovius (1879-1970) Vorbereitung, TeilkompositionTeilkomposition (Preparation, Adolf Hiilzel (1853-1934) Triptychon (Triptych),(Triptych), 1965 PartPartialial Composition), 1928 Der barmherzige Samariter (The Good Oil on canvas Oil on cancanvasvas Samaritan),Samaritan), ca. 1909 39.8 x 27.6 iin.n. 25.2 x 31.5 in. Oil on canvas 26.8 x 38.6 in. (15) (3) Josef Albers (1888-1976)( 1888-1976) John M Armleder (b. 1948) (9) Nesting Tables,Tables, 1926-27 Avec les deux lustreslustres (FS)(FS) (With 80th8 oth Adolf Hiilzel ((1 1853-1934)853- 1934) Re-editionRe-edition Vitra, 2005 Chandeliers (FS)), 19931993 Komposition (Figuren(Figuren im Kreis - Anbetung) Oak, lacquered acrylicacrylic glassglass Acrylic on canvas, 2 lamps (Composition(Composition (Figures in a CireleCircle 4 tables: 24.6 x 23.623.6 x 15.815.8 in.in. 1/ 21.921 .9 x 21.3 118.1 x 78.7 in. (painting), 118.1 x 167.3 in. - Adoration)),Adoration)), ca. 19231923 xX 15.8 in.in. 1/ 18.7 xX 18.918.9 xX 15.815.8 in. 1/ 15.8 xX (overal!)(overall) PastelPastel on brownbrown paper 16.5 x 15.8 in. 13.413.4 x 9.9 in. (4) (16)(16) JohannesJohanneslttenItten (1888-1967)( 1888-1 967) (10) Josef Albers (1888-1976)( 1888-1 976) Jüngling (A Youth), 19491949 Adolf Hiilzel ((1 1853-1934)853 -1 934) Study for HomageHomage to the Square:Square: OilOil on canvas Drawings,Drawing s, ca 1930 ""Opalescent",Opa/escent", 19196262 23.6 x 19.719.7 in.in. Charcoal and graphite on paper Oil,Oil, tempera onon hardboard 3 drawings:drawings: 4.7 x 5.9 in. 1/ 5.2 x 6.5 in.in. 1/ 9.2 31.9 x 31.93 1.9 in. (5) (5) x 5.2 in. Oskar Schlemmer (1888-1943)( 1888-1943) (17) DesignDesign for a WallWall Painting,Painting, 19301930 (11) Max Bill (1908-1994)( 1908-1 994) PastelPastel on drawing-cardboard WimWilli Baumeister (1889-1955) VerdichtungVerdichtung zu caput mortuum (Compaction 43.3 x 129.3 in. Ruhe und Bewegung (Rest(Res! and Movement),Movement), into caput mortuum), 1972-73 19481948 Oil onon canvas (6) Oil with artartificialificial resin on hardboardhardboard 55.655.6 x 55.5 in.in. each side: 39.4 iin.n. Oskar Schlemmer (1888-1943)( 1888-1943) 31.93 1.9 x 39.4 in. TreppeTreppe mit zwei FiFigurenguren und Kopf (Staircase (18) withwith TwoTwo FiguresFigures and Head), ca. 1924 (12)(12) Max BiIIBill (1908-1994) WatercolorWatercolor and pencil on silksilk paper WimWilli Baumeister (1889-1955) Ouinze variationsvariations sursur un memememe theme 10.6 x 8.7 in.in. LBuferLaufer mit sitzender Figur (Runner withwith (Fifteen(Fi fteen VariationsVariations on a Single Theme),Theme), Seated Figure),Figure), 1934-351934-35 191935-3835-38 Oil and sand on canvas 15 lithographslithographs 22.122. 1 x 21.32 1.3 in. 12.4 x 11.97 in.in. eacheach

22 Fundación Juan March ((19)19) (26)(26) (32)(32) llyaUya Bolotowsky Camille Graeser (1892-(1 892-11980)980) Adolf Richard Fleischmann ((1892-1968) 1892-1968) ((1907-1981)1907-1981) Komplementiire DiDis/okationslokation (Complemenlary(Complementary TriptTriptychonychon #505, #506#506,, #507, PlPlanimetricanimetric LLargearge BlBlack,ack, RReded and White DiDiamond,amond, 1971 DiDislocation),slocation), 1972 Motion, 19611961 Acrylic on canvas Acrylic on canvas ((TriplychTriplych #505, #506, #507, Planimetric 68 x 68 inin.. 39.4 x 39.4 in.in. MotioMotion)n) Oil on canvas (20)(20) (27)(27) 60.2 x 1105.505.5 in.in. Hermann Glockner (1889-1987)(1889-1 987) Camille Graeser (1892-1980) Faltung 1I (Fold 1)1),, 1967/751967175 Harmonikale KonstruktionKonstrukiion (Harmonical (33) (Origi(Originalnal form inin cardboard: 11934,934, CoConstruclion),1947/51nstruclion), 1947/51 Hans Arp ((1 1886-1 966) model: 1964) Oil, tempera on canvas Chapeau-nombrilGhapeau-nombril (Navel HHat),at), 11924924 Brass alloy, ed. 6/6 1515.8.8 x 29.5 in. PaPaintedinted wood on wood 1818.1.1 Xx 8.3 Xx 77.3.3 in. 22.8 x 1717.7.7 in. (28) (21) Friedrich VordembergeVordemberge-Gildewart-Gildewart ((1899­1899- (34) Hermann Glockner (1889-1987)(1889-1987) 1962) Hans Arp ((1886-1966) 1886-1966) Vertikal (Vertical), ca 1972 Komposition no. 219 (Composition No. CoryphéeGoryphée (Coryphe), 1961 Tempera on paper withwilh fold 219),1962219), 1962 Marble figure on granite pedestal 14.2 x 19.7 in. Oil on canvas 29.9 x 10.210.2 x 8.98.9 in.in. (figure),(figure), 35.4 x el0 15.8 31.5 x 41.3 in. in. (pedestal) (22) Hermann Glockner (1889-1987) (29) (35) Vertikal und Horizontal (Vertical and Richard Paul Lohse (1902-1988) Karl Benjamin (b. 1925) Horizontal), caca. 1972 Eine und vier gleiche Gruppen (One and Red,Red, White & BlackBlack Bars,Bars, 1959 TemperaTempera on paper withwilh fold Four Equal Groups),Groups), 1949/68 Oil on canvas 14.2 x 19.719.7 in.in. Oil on canvas 30 x 50 in.in. 47.4 x 47.4 in.in. (23)(23) (36)(36) Frederick Hammersley (b.(b. 1919) (30)(30) Oli Sihvonen (b.(b. 1921) SoSource,urce, 1963 Verena LoewensbergLoewensberg (1( 191912-1 2-1 986) DoubleDouble Matrix -- Pink,Pink, Green, 1968 Oil on canvas Ohne TltelTttel (Untitled),(Untitled), 1970-711970-7 1 OiOilI on canvas 47 x 45 in.in. OilOil on canvascanvas 2 paintings,painlings, 84 x 84 in.in. each 41.34 1.3 x 41.34 1.3 in.in. (24)(24) (37)(37) Max BiIIBill (1908-1994)(1908-1994) (31)(31) Vincent Szarek (b.(b. 1972)1972) TrilogieTrilogie (Trilogy),(Trilogy), 19571957 Adolf Richard FleischmannFleischmann (1892-1968)( 1892-1968) GoldGold Teeth,Teeth, 20052005 33 zinczinc prints,prinls, artistartist proofsproofs Ohne TltelTttel (Untitled),(Untitled), caca. 19501950 Urethane,Urethane, Slyrofoam,Styrofoam, fiberglassfiberglass 26.626.6 xx 36.836.8 in.in. eacheach PaperPaper Collage 72.172.1 xX 2424 xX 7.97.9 in.in. 17.717.7 xx 19.719.7 in.in. (25)(25) (38)(38) LiamLiam GillickGillick (b.(b. 1964)1964) ElaineElaine SturtevantSturtevant (b.(b. 1930)1930) ProvisionalPro visional BarBar FloorFloor /1 Geiling,Ceiling, 20042004 StellaStella ArundelArundel GastleCastle (Study),(Study), 19901990 Plywood,Plywood, FormicaFormica laminatelaminate EnamelEnamel onon canvascanvas EachEach element:element: 3.93.9 xx 157.5157.5 xx 118.1118.1 in.in. 6262 xx 38.238.2 in.in.

Fundación Juan March 2323 (39) (46) (54) Absalon (1964-1993)(1964-1993) Marcia Hafif (b. 1929)1929) Anton Stankowski ((1 1908-1998) DiOispositionsposition (Arrangement),(Arrangement), 1998 Pencil on paper:paper: February 7, 1974,1974, 1974 EgozenterEgozenter (Egocenter), 1952 Cork and wood,wood, painted PPencilencil on paper Oil on hardboard 71.7 xX 42.142.1 xX 11 in. 40.2 x 26 in. 33.133. 1 x 23.2 in.in.

(40) (47) (55) Absalon (1964-1993) Kenneth Noland (b. 1924) Norbert Kricke (1922-1984) PropositionProposition d'Habitation (Proposal for a Oraftline,Draftline, 19196969 RaumplastikRaump/astik (S(Spacepace Sculpture), 1956 Habitat),Habita!), 19911991 Acrylic on canvas Steel scusculpturelpture onon EifelEifel basaltbasal! pedestal Video on OVO 6.7 x 97.2 iin.n. 40.9 xX 41.3 xX 35.8 in. Ouration 3:30 mmino in. B/W.BIW. No audio (48) (56) (41) Heimo Zobernig (b. 1958)1958) Ben Willikens (b. 1939) Jo Baer (b. 1929)1929) ZZO, ZZp,ZZP, ZZO, 1986 Raum 371. Erich Buchholz (Atelier H. Arcuata, 1971 Gouache, adhesive tape on paper HerkulesuferHerku/esufer 15, Berlin 1922) (Room 37371.1. Oil on canvascanvas 3 works: 11.611 .6 x 8.3 in. each ErichErich BuchholzBuchholz (Studio HerkulesuferHerkulesufer 15, 21 .9 xX 95.8 xX 4 in. BerlinBerlin 1922»,1922)), 2004 (49) AcrylicAcrylic on cancanvasvas (42) John M Armleder (b. 1948) 78.7 x 102.4 in.in. Michael Heizer (b.(b. 1944) UntitledUntitled (FS(FS 80), 1985 Untitled No. 5,5, 1975 EnamelEnamel varnish on PavatexPavatex (panel), wood, (57) PolyvinPolyvinylyl aandnd latexlatex on canvas FFormicaormica (table) Georges Vantongerloo (1886-1965)(1886-1965) 120 x 72 in. 3535.8.8 x 35.8 in. (panel), 48 x 11.8 x 18.1 in. CourbesCourbes (Curves), 1939 (table) Oil on Masonite (43) 23.7 x 13.8 in. Julian Opie (b(b.. 1958) (50) On average present day humans Sol leWitt (1924-2007) (58) are one inch shorter than they were Untitled (Study(Study for a WallWa/1 Orawing),Drawing), 11993993 Georges Vantongerloo (1886-1965)( 1886-1965) 8000 years B. C.,C., 19911991 4 drawin9s, pencil and ink on paper Fonction,Fonction, courbes vertesverles (Fundion,(Function, Green Emulsion on wood 12.6 x 9.8 in. each Curves), 1938 78 xX 100.4 xX 84.7 in. Oil on Masonite (51) 32 x 14.614.6 in. (44) Olivier Mosset (b. 1944)1944) Jeremy Moon (1934-1973) Untitled (Tic(Tic Tac Toe Series), 2002 (59) Fountain (2167),(2/67), 1967 AcrylicAcrylic on canvascanvas GeorgesGeorg es Vantongerloo (1886-1( 1886-1965) AcrylicAcrylic on cancanvasvas 9 elements:elements: 5 "0"O",", 0 17.7 in.; 4 "X',"X", CompositionComposition (Composition), 1944 88.6 x 102.4 in. 16.9 x 1616.9.9 in.; 78.7 iin.n. overaoverallll Oil onon Masonite 27.6 x 20.120.1 in. (45) (52) Sean Scully (b(b.. 1945) Gerwald Rockenschaub (b. 1952)1952) (60) Red Night,Night, 1997 Six Animations,Animations, 2002 Josef Albers ((1 1888-1976) OilOil on canvas Video installation Structural Constellation F-14, 19541954 96.1 x 83.9 in. Resopal engravingeng raving (53) 17.3 x 22.7 iin.n. Philippe Parreno (b. 1964)1964) . 6:00P.M.,6:00 P.M., 2001 Chromojet print onon carpetcarpe!

24 Fundación Juan March Th~The DaimlerChryslerDaimlerChrysler CollectionCollection

TheThe DDaimlerChrysleraimlerChrysler CoCollectionllection was foundedfounded inin 19771977 byby DDaimler-Benzaimler-Benz AGAG -- thethe present-daypresent-day DDaimlerChrysleraimlerChrysler AG.AG. ComprComprisedised ofof approximateapproximatelyly 11,500 ,500 artwoartworksrks byby somesome 400400 German andand internationainternationall artists,artists, itit isis oneone ofof thethe worldworld's's most importan!important corporatecorporate artart collections.collections. TheThe subsequentsubsequent andand systematicsystematic evolutionevolution ofof thethe CoCollectionllection asas'well'wel l asas iitsts concentconcentrationration onon Abstrae!Abstract CoConstructivist,nstructivist, ConceptuaConceptuall andand Minimalist Art hhasas ggiveniven iitt aa ffocusedocused aandnd artart historicallyhistorically sosoundund profile.profile. Not intendedintended toto simsimplyply decorate thethe corporatecorporate spacesspaces with artworks, thethe Collection isis insteadinstead part of an active, wide-ranwide-ran'ging'ging commitmentcommitment toto thethe arts involvinginvolving variousvarious corporatecorporate departmentsdepartments.. This commitmentcommitment encompasses diverse programs dedicated toto thethe advancement of thethe arts. One of thesethese facetsfacets includesineludes making a majority of thethe artworks accessible toto employees of, and vvisitorsisitors to,to, thethe company's varvariousious llocations.ocations. ThThee ColCollectionlection iiss presented inin meaningful contexts and ssupplementedupplemented with guided toutours.rs. In thisthis way, thethe compacompany'sny's eemployeesmployees WALTER DE MARIA, 5 CONTINCONTINEN1SENTS SCUSCULPTURE,LPTU RE, company thatthat take tthehe cculturalultural environment are ggiveniven thethe opportopportunityunity toto cascasuallyually 11989;989; IINSTALLEDNSTALLED IN THTHEE ADMADMINISTRATIONINISTRATION of tthehe rrelevantelevan! localeslocales intointo consideration. encounteencounterr thethe cucultural,ltural, social, political and BUBUILDINGILDING OF DAIMLERCHRYSLER AG, The Collection isis devoted prprimarilyimarily toto STUTIGART-MOH RING EN aesthetic concepts of contempocontemporaryrary art STUTIGART-MOHRINGEN Abstract devedevelopmentslopments in art and pictopictorialrial during a nonormalrmal working day. representationrepresentation fromfrom thethe 2020'""' century toto thethe The Art Holdings Department present dayday.. FFurthermore,urtherm ore, itit encompasses (Kun(Kunstbesitz)stbesitz) isis responsible forfor thethe about 30 llarge-scalearge-scale sculptures, some of Collection within thethe corporation. ltIt which were commissioned fromfrom thethe artists organizes numerous exhibitions and has forfor specific corporate llocationsocations as well as thethe tasktask of enlarging and ssupplementingupplementing public spaces. The corporation's global thethe ColCollectionlection accordaccordinging toto specifspecificic critercriteriaia expansion has resulted inin even greater and aalsolso disseminates infoinformationrm ation aboaboutut visibility for the Collection as well asanas an the art via specific events and ppublications.ublications. increaseincrease inin internationainternationall artistic commissions Another ongoing project - iinspirednspi red by ththee inin accordance with the Collection's Abstrae!Abstract CoCollection'sllection's main area of specialspecializationization MinimaMinimalistlist specialization. ThThee corporation's - isis the scientific reappraisal of Minimalist WORKS FROM ANDY WARHOL:S ''CARS'CARS' connections to thethe United States, Japan trends in Europe and the UUnitednited States. IInn SERSERIESIES IN MYTHOS MERCEDES, and South AfrAfricaica are reflected in the addition, artistic concepts are developed DEICHTORHALDEICHTORHALLENLEN HAMBURGHAMBURG,, 2002 profile and activitactivitiesies of the DaimlerChrysler for new buildings commissioned by the Collection.

Fundación Juan March 25 3

1. MAX BILL, BILDSiiuLEN-DREIERGRUPPE,BILDSAULEN-DREIERGRUPPE, 1989;1989; INSTALLED AT THE ENTRANCEENTRAN CE TO THE NEW MERCEDES-BENZ MUSEUM IN STUTIGART-UNTERTÜRKHEIM.STUTIGART-UNTERTÜRKHEIM. 2. HAUS HUTH,HUTH, POTSDAMER PLATZ,PLATZ, BERLlN;BERLIN; SITE OF THE DAIMLERCHRYSLER CONTEMPORARY EXHIBITIONEXH IBITION GALLERIES.GALLERIES. 3. ROBERT RAUSCHENBERG, RIDINGRIDI NG BIKES,BIKES, FONTANEPLATZ/POTSDAMER PLATZ, BERLlN.BERLIN.

The company's early artisticartistic interests,interests, variousvarious company sites in the foformrm the ColleetionCollection to Detroit, Michigan, U.s.A,U.S.A, initiallyinitially devoted to paintingspaintings and works of large-scale sculptures, wall paintings Japan and South Africa; further venuesvenues onon paper, werewere concentrated on South or objeetsobjects made specificallyspecifically for faetoryfactory are being planned. An intensive Education German artists: teachers, and students of buildings in Stuttgart-UntertürkheimStuttgart-Untertürkheim program for school children and students the Stuttgart Academy suchsuch as Adolf Holzel,Htilzel, and Mohringen,Mtihringen, the Mercedes- is an integral part of the tour. In thisthis regard, Oskar Schlemmer, WilliWilli Baumeister, Hans Benz Museum in Stuttgart and the the company alsoalso supports youngyoung artists Arp and Max Bill. TheyThey all had in common DaimlerChrysler-Areal Potsdamer Platz in in each of these countries, either through an artisticallyartistically motivated interest in an Berlin. A number of sculpturessculptures for public the organizationorganization of exhibitions or by giving interdisciplinary dialogue between the visualvisual spaces already haveha ve .been.be en created for them greater exposure through publications arts, funetionalfunctional product design,design, architeeturearchitecture Stuttgart, Sindelfingen,Sindelfingen, Berlin and Ulm.Ulm. or, especially, in the form of awardsawards.. One and graphicgraphic design in the wakewake of the Since 19991999,, the ColleetionCollection has such prize is the Daim/erChryslerDaimlerChrys/er Award Bauhaus. The DaimlerChrysler ColleetionCol lection had its own exhibitionexhibition space in Berlin: for South African Culture that recognizesrecognizes has remained true to its specialization in the DaimlerChrysler Contemporary,Contemporary, housedhoused exceptional commitment to the arts in area of inquisitive artistic thought, thought in the historichistorie "Haus"Haus Huth'Huth' building acquired South Africa and has beenbeen granted to that is consistently devoted to humankind,humankind, in 1990 by Daimler-BenzDaimler-Benz-- the present­ representativesrepresentatives working in variousvarious culturalcu ltural its creative expression, andand its powers of day DaimlerChryslerDaimlerChrysler-- along withwith with fields.field s. In Japan, young artists havehave been inninnovation.ovation. other real estate at Potsdamer Platz. There, supported, since 1991, by Art ScopeS cope New acquisitions primarily stem from recent acquisitions are shown alongside DaimlerChryDaimlerChrys/ersler Japan and, since 2005, a spectrumspeetrum of renorenownedwned contemporary woworksrks from the permanent collection,colleetion, as by an artistic dialogue between Germany artists, but aalsolso take youyoungng artists in are artworks from other private colleetions.collections. and Japan; artworks by the award winners Baden-Württemberg and Berlin into special IInn addition, temporary exhibitions of art and are exhibited together in both countries. In consconsideration.ideration. Together with the sponsoring architeeturearchitecture areare shown at DaimlerChrysler America, this commitmentcommitment takes the form department, a concept was developed Contemporary, organized in conjunction with of the Emerging Artist Award (founded to support exhibitions by contemporarycontemporary the DaimlerChrysler Awards in Japan,Japan, South in 2005 by the DaimlerChryslerDaimlerChrysler FinancialFinancia! artists and artistic direetionsdirections refleetingreflecting the Africa, and the United States. AdditionaAdditionall Services department with main offices specialtyspecialty of the DaimlerChrysler Colleetion.Col lection. works from the CoColleetionllection are c;lisplayed in in Berlin and Detroit),Detroit), which is given to a Numerous commissions also hahaveve the publicpubl ic spaces of the DaimlerChryslerDaimlerCh.rysler graduate in one of the artistic disciplines at been granted as a partpart of the company'scompany's ServicesServices building, in the Hotel HHyattyatt and on Cranbrook University,University, Detroit. colleetingcollecting activities.aetivities. TheThesese either make Potsdamer Platz in Berlin. Further information as wellwel l as a specific reference loto the 'automobile'' automobile' (for Since the late 1980s,1980s, the ColleetionCollection listinglisting of the DaimlerChrysler ColColleetion'slection's eexample,xample, the commission given to Andy increasinglyincreasingly has been shown in internationalinternational current activitiesaetivities can be found on the Warhol to produce his "Ca"Cars'rs' series oonn the exhibitionsexh ibitions and the current presentation in Collection'sColleetion's homepage, where all of its occasion of the 100l' OOih anniversary of the Palma must be seen as part of a world tour publications alsoalso can be ordered: automobileautomobile in 1986)gs6) or were intended for that has already sent important piecespieces from www.sammlung.daimlerchrysler.com.www.samm lung.daimlerchrysler.com.

26 Fundación Juan March Before andand After Minimalism A Century of AbstractAbstraet Tendencies inin thethe DaimlerChrysler CollectionColleetion May 22 toto September 8, 2007 Museu d'Art EEspanyolspanyol ConteContemporani,mporani, PPalmaalma

EXHIBITION Organ,ization FundFundaciónación Juan March, Madrid: Departamento de EExposicionesxposiciones Museu d'Art EEspanyolspanyol CoContemporani,ntemporani, Palma DDaimlerChrysleraimlerCh rysler AG, AbteiAbteilunglung Kunstbesitz, Stuttgart Concept Dr. Renate Wiehager Opening hours Monday to Friday 110.000 .00 aam.-6.30.m.-6.30 p.m. SatSaturdayurday 110.300.30 aam.-2.00.m.-2.00 p.mp.m..

EXHIBITION GUIDE Design Guillermo Nagore Typeface BertholdBerthold Akzidenz Grotesk Prepress and printing EstudiosEstudios Gráficos EuropeosEuropeos SA,S.A., Madrid Texts © FundaciónFu ndación Juan March,March, Madrid © DaimlerChryslerDaimlerChrysler AG, Abteilung Kunstbesitz, Stuttgart Photo credits © 2007 for the reproducedreproduced works VEGAP. Madrid /1 DaimlerChrysler

ONLlNEONLINE CATALOGUECATALOGUE www.march.es/minimalismo Museu d'Art Espanyol Contemporani, Palma FundaciónFundación Juan March Sant Miquel, 11 07002 Palma'Palma · Te!.Tel. + 34 971713515971 71 35 15 +34971710428+ 34 971 7 1 04 28 Fax.Fax.++ 3434 971971 717 1 260126 01 www.march.es SammlungSammlung DaimlerChryslerDaimlerChrysler DaimlerChryslerDaimlerChrysler AGAG KunstbesitzKunstbesitz /1 CorporateCorporate ArtArt DepartmentDepartment HPCHPC 04110411 EpplestrasseEpplestrasse 225225 7054670546 StuttgartStuttgart www.sammlung.daimlerchrysler.comwww.sam mlung.daimlerchrysler.com

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