27.11.15 17:2027.11.15 17:20 Seite 184 — Elke Bippus Elke Writing-Reading Writing-Reading “Seeing, of Course, Is also an Art”: as an Aesthetic Labor of Mediation as an Aesthetic on Hanne Darboven’s Work with Writing Work Darboven’s on Hanne PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Prestel_Hanne_Darboven Über 400 Jahre Bücher mit System

184 DARBOVEN_.indb 184DARBOVEN_.indb 184 DARBOVEN_.indb 185DARBOVEN_.indb185 HanneDarboven worked outasuitablewritingpraxiswhich,asIwillshow below, canbedefi as individuationinthought,andwhichmakes becomingasadimensionofbeing ingly, onewriteswell when“hewrites(to) question ofthinking“whattheancientsthought,butinsteadwaythey thought.”Accord- possible through theinterconnection between writing,thought,andexistential experience. For itisnota search was writing and the “theoretical art” search waswritingandthe“theoretical art” ed “a transformation of art, andhenceoftheconcept ed “atransformationofart, sign, notonlyaccorded primacy Art tothede- Conceptual becomes evident inthecontext of thecatalogue.For speak apubliclanguage.” wouldther paintingnorsculpture, andinwhichherart Minimalism, [shesought]aform.thatwould benei- Darboven praxisofwriting shapedherartistic Inthe“wake Art. oftions ofMinimalismandConceptual in relation totwo centralquestionsandproblematiza- 1880 Darboven’s; thequotationrecursformin infragmentary “A manalwayswritesabsolutelywell whenever hewritesinhisown manner”:withthesewords, tal physics, ina“Happy New Telegram” addressed toRoy Colmer, aphotographerandclosefriendof Hanne Darboven quotesGeorg ChristophLichtenberg, amathematicianandprofessor ofexperimen- Inhercontributiontotheexhibition tion” Conception, inseparable. as anactivity, asautobiographicalwriting,andalaborofthepresentationbecome of(cultural)history the sametimecallingintoquestionrepresentability ofobjective reality. InDarboven’s work, writing pelled tobecomeindividua[ pure factualknowledge. Inasorrowful butnonethelesscriticaltone,heobserves that“we .are notcom- denounces anartifi “I rewrote by handinorder tobemediatedmyselfby themediatedexperience.” of seeingandreading bothimageandtext. structure ofvisualmedia,thereby provoking new modes and interlockthesequentalityofwritingwithspatial tic praxis debates andproblematizations, shedeveloped anartis- tobe.Inthecontext ofthese Art claimed Conceptual Golgotha, where we cangazeuponChristonthecross not intheyoung theologian,withhisgloomyvoice, whowantstoleadus intheLowerthe connoisseurofbeautydelightsooften naïveté, Saxonpeasant,withhisPlattdeutsch but Manifestly, HanneDarboven appropriated inavarietyofways. Lichtenberg’s observation Her the polaritybetween thenaturalandartifi doesnotcorrespond toanynaïvewriting certainly orunmediatedformofexpression, nordoesitfollow not copy anestablishedauthororstyleemploy arecognized schema. — the concept,inrelation toitsexecution; itenact- (fi g 1) g. 18) (1980 1983) Conceptions of Communication andInformation ofCommunication Conceptions 10 , whosepotentialandinnovativeness forart thatwould joinproduction andpresentation 6 shecharacterizeshertechniqueof“nota- Writingbecomesamod e ofself-reflection andofself-educationinLichtenberg’s sense: Bücher mit System Über 400Jahre — cial, imitative mannerofwriting,aswell asmere learning 1983; Prestel_Hanne_Darboven derBitte umschnellstmögliche Druckfreigabe! mit PDF zur Ansicht, pp. 230ff. 8 Fundamental toherinthe sic] inthought.” ). 1 Lichtenberg formulatedthesentenceinanaphorismthatexplicitly himself 11 Konzeption– 2

cial, asisthecaseforLichtenberg, whowrites:“Whydoes Inhisunderstanding,anadequateself-educationbecomes 9 shepro- ” (“wenn er .” 4

Kulturgeschichte 1880 Leverkusen, 1969 Konzeption –Conception byContribution HanneDarboven fortheexhibition Fig. 1 sich schreibt”), through thevisibledarknessto 3 — Seite 185 thatistosay, whenhedoes that is, theappropriation of , MuseumMorsbroich, 7 — 5 recognizable, whileat 1983 (CulturalHistory ned

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15 to- As a 14 13 ned,” Dokumentation Dokumentation in contemporary 20 Seite 186 cation” as inaugurating a modern as inaugurating a modern has been regarded as a “dis- has been regarded 21 . In this context, “documentation” “documentation” . In this context, 19 17 which seems common for the recep- — of her labor of writing suggests not (conven- 24 cation of the Enlightenment and the theo- criticism. Already during the mid-1980s, Michel Michel during the mid-1980s, criticism. Already image of the the conventional revised Foucault Enlightenment, characterizing it in his confron- “What Is tation with Immanuel Kant’s little text Enlightenment?” ed of being an anachronistic attitude, one that attitude,ed of being an anachronistic one that cer- some time now, For is hostile to pleasure. any notion of the Enlightenment as “a be- tainly, knowledge lief in the autonomous subject of for the ideal society, the search or of history, along with any “iden- for the idea of freedom,” tifi ry of progress” attitude that formulates the demand of reflecting attitude that formulates the demand of reflecting ‘today’ as dif- on on “today”: “It is in the reflection for a particular in historyference and as motive qualifying simplifi Like Baudelaire, Foucault conceives of modernity of modernity conceives Foucault Baudelaire, Like 22 This characterization of art, which she regarded as a necessity, and which must be and which must be of art, as a necessity, which she regarded 18 16 of graphic-geometric number con- in the form ned this interest

“still oriented formally toward objects that are to be defi are objects that toward “still oriented formally — associates her encyclopedic approach to writing with punitive labor. labor. punitive to writing with approach associates her encyclopedic 23 — PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Prestel_Hanne_Darboven cult elaboration.” elaboration.” cult veyed through reproductions of concepts, sketches, diagrams, and photographs. and photographs. diagrams, sketches, of concepts, reproductions through veyed Hanne Darboven: Information Hanne Darboven: Über 400 Jahre Bücher mit System as for example in Land Art in Land as for example The exhibition’s subtitle draws attention to the radicalityof that transformation: that attention subtitle draws the radicalityof to The exhibition’s — 12 ward things, but instead toward procedures and processes of communication, documentation, and in- communication, documentation, and of and processes procedures but instead toward things, ward formation. (cultural) historical themes, concrete she turned toward decade, in the following structions; beginning communication. In a letter need for to her parents, her pressing accommodating addressed thereby refi Darboven the late 1960s, Until not only as a “relation to the present,” but also as the “mode of a relationship that has to be established that has to be established but also as the “mode of a relationship to the present,” not only as a “relation be modern is The deliberate attitude is tied to an indispensable asceticism. To of modernity with oneself. of a oneself as [the] object take not to accept oneself as one is in the flux of the passing moments; it is to and difficomplex Implicitly, the desire for knowledge, the conviction and trust in enlightenment and reason, is suspect- the conviction and trust in enlightenment and reason, for knowledge, the desire Implicitly, tion of her work during the 1980s during the tion of her work as an “attitude of modernity” whose inception is traceable to the Enlightenment. The can be regarded and self-will” assertedrepeatedly “enormous expenditure writing, which she practiced in a disciplined way to the rhythm of an eight-hour day, Darboven’s consequence, it becomes clear: Conceptual Art is based not on the sensuous appearance of works, but clear: Conceptualconsequence, it becomes but Art appearance of works, is based not on the sensuous these designs Accordingly, of its concepts. of the methodological possibilities a question is far more not are as a “point of departure: the out- of Kant’s text, as the “novelty” regards philosophical task” that Foucault line of what one might call the attitude of modernity.” “in village school” because she believes “us . . . sitting in her upper-middle-class detention mercilessly in knowledge.” enlightenment, in reason, to Ernst Busche. She has according is an enlightener whose “aim is enlightenment,” Darboven of art.” function. any depicted or representational delimited decidedly from she still expressed uncertainty calendar notations to the tran- this intention. By linking her concerning she still expressed yet themes, cultural-historical, historical, and political it became possible to turn toward scription of texts, without abandoning the “independency” einer heutigen Kunstrichtung: documentation of a today’s art documentation of Kunstrichtung: einer heutigen tendency works; of the exhibited views the form of installation in of the exhibition mean the illustration does not is con instead, it Fig. 2 from: with U-waves Page (Milan: Flash Art Edizioni, 1973), n.p.

186 DARBOVEN_.indb 186DARBOVEN_.indb 186 DARBOVEN_.indb 187DARBOVEN_.indb187 Pangeometry]) theory, asdemandedbyArt). Conceptual thatwouldpraxis corresponded toananalyticalart integrate of thepresentation ofimageandtext (andinthisrespect, her Inhersearch foranew modeofpresentation thatwould genres andtheircharacteristics, butalsoreflectedsual onpractices be neitherpaintingnorsculpture, Darboven not onlydrew onvi- the text intoaspatiotemporaljuxtaposition. tive forthetransformationofsequential,successive formof Darboven appropriates Lissitzky’s motto “Seeing, of course, is also an art,” withwhichhepref- Darboven ofcourse,isalsoanart,” “Seeing, appropriates Lissitzky’smotto aced theessay becoming, notafrozen goal” ments suchas“Every formisthefrozen imageoftheinstantaprocess. Thework, then,isastationof As atemporalindex, theword “today ments by Lissitzkyfrom thetexts appeared inconjunctionwiththeexhibition of1973are state- becomes self-aware notpriorto, butthrough thework,” that are tiedtoarigorous self-education.Thislabor / activity ofwriting tional orestablished)notionsofthecreative process, butratherprocesses ofappropriation andreflection tables ofnumbers, thereby theirsimultaneity asserting tabular formandatthesametimeinreduced fashionina nonlinear juxtapositionofchecksumsand mutually exclusive inanyconventional sense:the datesare registered inachronological, consecutive In ing thathersystemofdatecalculationshasemerged from thework itself. the workasonethatisimplicitlyprocessual, referring tothework ofart fi asamomentary tion,” perceptionusing theresources andspatialorganiza- ofartistic transformationofsocialandmaterialrealityof anemancipatory abstract spiritualutopiaofSuprematism “intotheconcrete utopia is centraltoLissitzky’stheory, totransferthe whichattempts and numbers, boxes, word-numbers, andU-waves checksums ofdates, thatistosay“dailycomputations,” whichare presented intheformofcolumns which shetransferred intoasystematic, seeminglyendlessactivityconsistingofthecalculation and constructionsproduced inNew York, whichDarboven ultimatelyrealized asnumbersystemsand activity conveys itselfasde-representation. Fundamental inthiscontext drawings are theConstructivist reality andliveliness ofaprocess onlyinorder tosimultaneouslydismantleit.Accordingly, herwriting absent. Inthissense,Darboven’s visualizationpraxisposestheunheard-of challengeofdepictingthe tas emblem,asreferring totherespective “today”ofthebeholderandasmarkingtimewriting so thattimeisnotsimplyindicatedby Darboven, butinstead isregistered inaperformative fashion. text is in relation tospace,time,andwriting.Fundamental inthiscon- uponwhichshereflects ofart, mations oftheimageinhistory of theEnlightenmentunderconditionsa“crisispossibility(universal) representation.” A. andPangeometry (1925). 30 El Lissitzky[Kunst undPangeometrie] andwhichcorresponds toDarboven’s interrogation of thesocietalfunctionofart. The BecomingSpace-Time oftheText El Lissitzky[Kunst undPangeometrie] Bücher mit System Über 400Jahre (fi A. andPangeometry. g. 4) g. . Printedonthecover ofthecatalogue that Prestel_Hanne_Darboven derBitte umschnellstmögliche Druckfreigabe! mit PDF zur Ansicht, 32 and:“We acknowledge works thatcontainthesystem,butasystem 29

1924 –√+∞=Nasci The text 31 ,” whichrecurs inmanyofDarboven’s works, canberead asavani- She positions her artistic production inthis tradition.Withstate- Shepositionsherartistic 27 Sheinvokes transfor- A.andPangeometry (El Lissitzky [Art and (ElLissitzky[Art (fi gs. 2and3) , shejoinstwo possibilities forpresenting timethatare . Thesegraphicformalinventions were constitu- 33 (fi (1924) g. 5) g. Darboven reflects uponherunderstandingof . Her drawings convert formintocontent,. Herdrawingsconvert 28

(October 1973),pp. 35 “Hanne Darboven: DeepinNumbers,” graphic presentation. From Lucy Lippard, ofHanneDarboven’sCompilation techniquesof Fig. 3 25 recapitulates themodernclaim Seite 187 — 39, here p. 38. guration, claim- Artforum Artforum 26 12

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40 c spatiotem- in favor of an of an in favor nished forma- 44 In this way, Dar- In this way, 34 Seite 188 corresponding with the individual corresponding — Her writing activity began with the tran- 42 c reading direction, but instead pres- but direction, c reading 43 nds its counterpart in seeing-reading. In other nds its counterpart In other in seeing-reading. If one opens oneself up to the unfamiliar, then a then a If one opens oneself up to the unfamiliar, and affective force, and can now become a medium and can now and affective force, 36 The space-shaping mode of presenting a simultane- The space-shaping mode of presenting 35 37 ed grasp becomes possible, a meaning beyond the familiar. ed grasp becomes possible, a meaning beyond her chosen texts, drawn from a literary from drawn canon that was well- her chosen texts, making possible connections between frames and even pro- even frames and between connections making possible graphic similarities. these through voking of thought. boven’s labor / activity of writing establishes a space that that writing establishes a space activity of / labor boven’s no specifi prescribes is open space that heterogeneous ents itself as a shapable, the one that renounces of perception, to a variety of modes interpretation. of a predetermined authoritarian character possibility of generating a mean- is the procedure style textual constellation- to this repetitive, inherent Methodologically of writing The staging or presentation the familiar. ing beyond has the effect of Darboven in all of the modes performed by becoming transparent from legible text the familiar, preventing us in all of its it confronts in terms of content; on the contrary, materiality modifi take which we through and techniques of interruption, to leaps to processes is linked manner of presentation Darboven’s contin- from in thought, detach ourselves of the familiar leave turns which wrong take detours or even make uous progress, the artist “I’m to her parents: In this context, wrote alienate us. logically to some extent proceeding making a lot of sketches, wove joined together in a linear succession. A spatial simultaneity is evoked by by is evoked simultaneity succession. A spatial in a linear joined together — PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Prestel_Hanne_Darboven (El Lissitzky (El Lissitzky . In 1971, she abandoned this purely reproductive activity reproductive . In 1971, she abandoned this purely Odyssey is not a self-enclosed form, but is instead processual, concretely related to seeing- related concretely is not a self-enclosed form, but is instead processual, 41 in a process of simultaneous seeing and reading, involving her in a specifi involving of simultaneous seeing and reading, in a process Über 400 Jahre Bücher mit System 38 Writing as Autopoietic Self-PortraitureWriting as Autopoietic tion, but instead consistently remains open, a processual form.” a processual open, tion, but instead consistently remains reading. The beholder is accorded a role that was characterized by Rolf Wedewer in 1969 in relation to to in 1969 in relation Wedewer Rolf that was characterized by a role The beholder is accorded reading. the artist and the beholder is no longer tied to the supplies only an indication, Conceptual Art: “Now, to necessity and at the Instead, he is exposed of that which is perceived. and interpretation perception to his own the design in relation by on the indications provided same time to the possibility of reflecting act does not culminate in a fi With conceptual art,notions and associations. the creative ity of succession and juxtaposition allows looking to become an artallows (not to become art),ity of succession and juxtaposition that is to say: a praxis. reading a performative precisely technique, or more the beholder material which implicates a penetration into concrete through processually proceeds Reading to the point of unreadability. traditional literature had brought who in her view of James Joyce, understood her “doing” as continuing the work Darboven Hanne Various historical eras are evoked through textual citations and citations textual through evoked are historical eras Various sheets framed paginated also while directions, of reading facilitates a variety This of the frames. the tabular hanging means of autopoiesis through which she inter autopoiesis through that which is presented. The praxis of writing-reading fi writing-reading The praxis of that which is presented. as it does to so-called reception. applies as much to production the praxis of writing-reading words: The “work” “work” The scription of Homer’s from construction to construction; now and then, at the same time, I take leaps, that is to say, now and and now that is to say, leaps, time, I take and then, at the same construction to construction; now from engage in experimentation.” then I abandon rigor, poral situation. Resorting to a term common during the 1960s, we can say that such reading “in-forms” can say that such reading we poral situation. Resorting to a term common during the 1960s, Fig. 4 Fig. 4 El Lissitzky [K. und Pangeometrie] cover Front 1972, [A. and Pangeometry]),

188 DARBOVEN_.indb 188DARBOVEN_.indb 188 DARBOVEN_.indb 189DARBOVEN_.indb189 Bücher mit System Über 400Jahre Prestel_Hanne_Darboven derBitte umschnellstmögliche Druckfreigabe! mit PDF zur Ansicht, article: “IMustHave BeenVerySpiegel article: Depressed: (El Lissitzky[A.andPangeometry]), 1972 Jean-Paul Sartre’s Self-Portrait at70” Self-Portrait Jean-Paul Sartre’s El Lissitzky[K.undPangeometrie] Fig. 6 Fig. 5

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veyed

45 Für Jean- Für that which that which historicity, historicity, — in the form in the form 51 is says that the says that the 55 — Here, in contrast in contrast Here, Der Spiegel 54 renewed the genre the genre renewed image — which can be regarded as as which can be regarded — which cover the years from from the years which cover Seite 190 — among other works among other veyed in its reality, in its reality, veyed — In other words, Darboven rejects rejects Darboven In other words, 53 Through the becoming-image of the the becoming-image of the Through

52 into two parts. Like the autobiographical the autobiographical parts. Like into two 48 — working in the visual realm working — the relationship between reading and writing plays and writing plays reading between the relationship

, In The Words 49 as formulated so tellingly by Paul de Man in his reflections on “Auto- de Man in his reflections Paul as formulated so tellingly by whose vision during this period was extremely limited this period was extremely whose vision during — — parts of which were published in German translation by published in German translation by parts of which were 47 poses the question of whether perhaps it is autobiographical procedures poses the question of whether perhaps it is autobiographical procedures , catory seeing and reading, deploying and interpreting writing as a process a process writing as and interpreting catory deploying seeing and reading, — PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Prestel_Hanne_Darboven and collaged these autobiographical text passages autobiographical text and collaged these with an interview with Sartre Michel Contat,with an interview a colleague at his by conducted in 1975 46 —

50 Über 400 Jahre Bücher mit System (For Jean-Paul Sartre), which dates from 1975. This work opens up the time span between Sartre), opens up the time span between Jean-Paul 1975. This work dates from which (For birth year (1905) and the year of his seventieth birthday. Darboven transcribed excerpts from from transcribed excerpts Darboven birthday. seventieth of his birth and the year (1905) year The Words The Words

Les Temps modernes Les Temps Paul SartrePaul Sartre’s Sartre’s of text. Darboven’s de-representation of (cultural) history and of the self-portrait de-representation transforms aesthetic Darboven’s of text. of thought. into an aesthetic process experience to a self-portrait in the medium of referential painting, the “likeness comes to appearance” to a self-portrait painting, the “likeness in the medium of referential most important thing to him is writing, and that this activity involves thinking and reading: “I still think, “I still think, and reading: thinking most importantis writing, and that this activity involves thing to him way been activity of thought has in some the real has become impossible for me, but because writing what One rereads speaking and writing. difference is an enormous . . . I think there between suppressed. will have long you how do not know you or quickly: in other words, slowly But one can read one rewrites. a sentence.” deliberating over to take Sartre terms, divided his autobiographical text Using these two a central role. of writing and the pleasures hardships into the an investigation Nathalie Sarraute, and Philippe Sollers, Sartre’s Perec, self-analysis Georges of Alain Robbe-Grillet, texts What is in fundamental ways. autobiography twentieth-century regenerated of his childhood years way in which the authors disappear between autobiographical writing is the about this new remarkable it as a rejuvenating of a convention, as the wreckage the genre on and reflect the lines of their texts linguistic game. In this dialogue, Sartre in about autopoietic writing form to her thinking gave Darboven 1905 to around 1917 1905 to around review established during the 1960s, with her calendar notations. In this way, she created an (auto)biography that that an (auto)biography she created In this way, notations. with her calendar during the 1960s, established in particular of that history, to (cultural) was articulated background, to her bourgeois-business in relation art the US-American by was conditioned a conception that and to scene. and Europe, Germany that no counter-image of a corporeal a model in favor from derived a self-portraiture that is putatively and in various directions.” indirectly “because it must be read longer holds up a mirror, This published version, in turn, was entitled “Self-Portrait in turn, was entitled at 70.” This published version, in time.” time, and becomes readable as writing through emerges and contingency. Appearing in almost deconstructive fashion in “space . . . as an in almost deconstructive Appearing and contingency. as something of liveliness, of the image, the claim to a depiction of reality, and the becoming-text text of the artist the (auto)biography As de-representation, is con becomes perceptible. unheard-of biography as Defacement” to which “life wisdom according that generate a life and determine it, in contrast to the conventional its consequences.” produces the autobiography as an act produces as a text-image corpus, one that one corpus, as a text-image of the self-portrait through the visuality of script. By means of visualizing the text as writing, she inter- of the self-portrait the visuality of script. By means of visualizing the text through of an identifi rupts the flow dimension of writing without the the existential conveying both hand and thought, thereby that involves of the (writing) addition of notations displays the in-formation image. The regularized representational dismantling the concept of an immediate eluding any notion of a living, spontaneous act and process, aesthetic of art. to emotion, of the kind that is ascribed to the access to sensuous experience, Through and of manual-pro- characterized as dichotomous, media, which are the interlocking of image and text image is con writing, the text and reproductive graphic drawing ductive Darboven In ways comparable to these authors,

190 DARBOVEN_.indb 190DARBOVEN_.indb 190 DARBOVEN_.indb 19DARBOVEN_.indb191 Phaidon,2000),pp. 207 Objects(1965),”in andsculpture inMinimalismisDonaldJudd’s“Specifi Ibid.,p. 33;fundamental forthedebateconcerningpainting 8 here p. 40. (Hamburg: Christians, 1999),pp. Kunst, 31 Schaffhausen ‘Real Writing’derGeschichte,”in und Landschaften HanneDarboven, cited from BrigidDoherty, “HanneDarbovens 7 Buchhandlung Walther König, 2002),p. 12. Werkverzeichnis tiertes derBücher Westheider, Bippus andOrtrud arrive Elke often attheborderline oftheimpersonal.” See exclude thepersonality, norwould Iwantto, althoughthings 12,2002,HanneDarboven author onJanuary said:“You cannot Westheider Inaconversation withOrtrud andthepresent 6 Kwinter Sanford (New York: ZoneBooks, 1992),pp. 297 oftheIndividual,”in Simondon, “TheGenesis beingandbecoming;seeGilbert individual.Inthiswork, hequestionstheoppositionbetween oftheorizingtheprocess ofindividuationthrough the totheorizetheindividualthrough individuationinstead 5 In his Ibid.[Englishversion by thepresent translator.] 4 Chriezugehenkommt, schreibt schlecht.” undindie will,.derdenWinckelmann imStilaffektiert, schreibt, aberderPerüquenmacher schreiben derwieGellert reads: “DerMenschschreibt absolutegutwenn ersich ever hewrites(to)himself.” version would be:“A manalwayswritesabsolutelywell when- soamore accurateifodderrendering thanthepublished usesthereflexive formoftheverb “towrite”( (New York: New York Review Books, 2000),p. 20.TheGerman aphorismappearsinGeorg ChristophLichtenberg, Books Englishversion Ibid.(emphasisadded).[Ashortened ofthis 3 May30,2015). buch / -6445 / (accessed3, chapterheaded“Grabschrift” CarlHanser, 1974), citedfrom http: / / gutenberg.spiegel.de / Briefe,ed.Wolfgang Promies andBarbaraPromies (Munich: Georg ChristophLichtenberg, See 2 (Paris: Muséed’Art modernedelaVilleParis, 1986). Culture, 1980 / 1983,” “24chants,” ofRoy New Colmer’s York front 1880 doorinto Darboven alsointegratedphotographsdatingfrom 1975 / 76 1 originally published in 1964, Gilbert Simondonattempted originally publishedin1964,Gilbert — L’individu etsagenèsephysico-biologiqueGenese , trans. andwithanintroduction by R.J. Hollingdale 1983.Onthiswork, see Bücher mit System Über 400Jahre Minimalism , ed.KiravanLil,exh. cat.,Hallenfürneue Incorporations — 210. — Prestel_Hanne_Darboven derBitte umschnellstmögliche Druckfreigabe! mit PDF zur Ansicht, Trans.] Thecompletecitation , ed.JamesMeyer (London: Hanne Darboven: “Histoire dela Hanne Darboven: ed.SuzannePagé, exh. cat. Hanne Darboven: Menschen , ed. Jonathan Crary and, ed.JonathanCrary (Cologne: Verlag (Cologne: der Aphorismen, Schriften, Aphorismen, Schriften, Kulturgeschichte sich schreiben

Kommen- TheWaste c — — 319. 46, ,

), Hamburger verflochtene Bild-Räume,” in Kunsthalle Cf. Elke Bippus, “ZwischenFlächeundRaum:HanneDarbovens 11 DruckhausDeutz, Paulo exh. (Cologne: cat.,XIIBienaldeSão 1973), ZudenArbeitenvon HanneDarboven,” in n.p. Honnef, exh. cat.(Münster:Westfälischer Kunstverein, 1971), pp. forexample thatvisualizetime.See 43 usingthemtoformproductive andprogressive movements calendardates. Shecalculatedthechecksumsofdates, Darboven departure, developed anumbersystembasedon InNew York, withgeometricconstructions asapointof 10 deutscherVerlag, 1969),n.p. Morsbroich, Leverkusen andOpladen:West- (Cologne exh. cat.,StädtischesMuseumLeverkusen andSchloss tendency ofato-day’sart 14 Wedewer, ofsource texts, andmake itpossibletoreread thework in excerpts. Asaresult, thecataloguevolumes almostbecomecollections reproductions ofsheetsfrom theexhibited works themselves. containanyinstallationviews, insteadprimarilydepicting thatupuntilthemid-1980s, her exhibition cataloguesbarely Darboven retained thistypeofdocumentationtotheextent 13 12 Wedewer, 1997),pp. 83 DokumentationeinerheutigenKunstrichtung Rolf Wedewer, “Vorwort,” in 9 Writing’,”p. 34. andoriginality.” ofvirtuosity Doherty, “HanneDarbovens ‘Real communicatesomethingmore thanitsown value,itsmessage inrelation toitscapacityreach outtoward apublicandto .., “awareness ofcrisisinrelation tothesocietalfunctionofart ofitscommunicative art function,asanexpression ofan autonomy, relation toartistic andtheresultant renunciation by understandsDarboven’s BrigidDoherty ambivalencein 17 16 Ibid. cited from Doherty, “HanneDarbovens ‘Real Writing’,”p. 33. hasbeen won, asitwasearlierinmusic, inliterature.” Hanne Darboven, example, history painting did . . . A change for the better or example, paintingdid.Achangeforthebetter history perhaps toconvey nolongermediates, asonce,for amessage;art not longerboundtoanything,onehasnothingonbehalfofwhich “Infactthis‘Art’ hasbecomehighlysubjective. Oneisno 15 (Ostfi ldern: Cantz, 1997), letter datedNovemberldern: Cantz,1997),letter 23,1967,n.p., — 52; Evelyn Weiss, “EinMonat,einJahr, einJahrhundert: Konzeption –Conception Konzeption –Conception — — yes, autonomy Isuppose,achangeforthebetter; 96. Briefe aus , vol. 2: Seite 191 , ed.Wedewer andKonrad Fischer,

Konzeption –Conception: New York 1966 Im Blickfeld:Jahrbuchder Ausstieg ausdemBild Hanne Darboven , n.p. , n.p. Hanne Darboven

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191 27.11.15 17:2027.11.15 17:20 1981,

, —

153. gure” in in gure” , exh. cat., cat., , exh. — (1978): Elke (1978): Elke What is Called What is Called Schreibzeit 1975 , Schriftenreihe des Bismarckzeit 68, here p. 53. An English An English 53. p. 68, here The Origin of German Tragic The Origin of German Tragic in Roman and Arabic numerals, and Arabic numerals, in Roman , letter dated July 21, 1966, n.p. — — something. One does not about something. One does not Hanne Darboven: Schreibzeit Hanne Darboven: Seite 192 (Berlin: Reimer, 2003), pp. 145 2003), pp. (Berlin: Reimer, for ed in a footnote as an abbreviation ,” in Jussen, nal sentence of this passage does not appear in Briefe aus New York Briefe aus New , trans. J. Glenn Gray (New York: Harper & Row, 1968), 1968), Harper & Row, York: Glenn Gray (New J. , trans. 497. as mentioned above — 98. 98. Serielle Verfahren: Pop Art, Minimal Art, Pop Conceptual Art Serielle Verfahren: — (London: Verso, 2009), p. 209. Benjamin’s text “Über die “Über die 209. Benjamin’s text 2009), p. (London: Verso, — Schreibzeit Die Konstruktion der Utopie: Ästhetische Avantgarde und und Ästhetische Avantgarde der Utopie: Die Konstruktion Hanne Darboven: El Lissitzky [K. und Pangeometrie] Hanne Darboven: pp. 85 pp. 448 pp. 36 Martin to the mediality of thinking, Heidegger has referred theoreti- describing it as a praxis that cannot be appropriated reading a treatise cally or by on swimming. Only the a treatise reading learn to swim “by swimming. Only in this tells us what is called leap into the river with the element within which familiarize ourselves way do we place.” Martin Heidegger, swimming takes Thinking? translator.] 21. [The fi p. present the by here and is supplied the published English version, 37 Darboven, 38 and implicating the beholder, of addressing On this process “Schreibe hinauf und schreibe see Thomas Wagner, der Schrift durch in Bewegung nach wie vor: schreibe hinunter, Benjamin, another author Walter and much more. U-waves, to the corporeality refers Darboven, by and transcribed read is nothing subordinate writing when he says: “But there of it dross, written about in reading like script, it is not cast away a pattern [“fi like absorbed along with what is read, is Drama Benjamin, original].” Walter the überhaupt und über die Sprache des Menschen” Sprache in English as “On Language As Such and on the (familiar VI of of Man”) is found in vol. Language 30 Konstruktivismus,” “Utopisches im russischen Hubertus Gaßner, in in den 20er Jahren politische Utopie Karin and Karlheinz Kopanski, ed. Gaßner, Archivs, documenta 48 1992), pp. Stengel (Marburg thedetach- / / is available at http: text translation of Lissitzky’s / 2014 / 03 / 15 / 105 / edgaze.com (accessed July 10, 2015). 31 of course, is also an A.,” “seeing, read: we In Lissitzky’s text, “art.” with A. being identifi 32 cover. des Beaux-Arts, (Brussels: Société Palais des Expositions, front Hossmann, 1974), Daled and Société Hamburg: des Expositions, 33 Ibid. 34 author’s analysis of the present Cf. 35 to familiar script, but instead also writing is not reduced Her written und Postminimalism Bippus, und ,

/ 42, 42, — Art: , ed. Carl , ed. Carl On Art: , ed. Wolfgang , ed. Wolfgang possibly possibly The Foucault — 69, here p. 69. p. 69, here — Europa Almanach: Almanach: Europa 8 / 9, April / July 1924. , 1924. This text appeared for for appeared , 1924. This text Nach der Aufklärung?: Nach der Aufklärung?: Hanne Darboven: Schreibzeit Hanne Darboven: Merz PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Prestel_Hanne_Darboven 98. . — Der geöffnete Raum: Zur Politik der der Der geöffnete Zur Politik Raum: (Munich: Wilhelm Fink Verlag, 2006), p. 252. 252. 2006), p. (Munich: Wilhelm Fink Verlag, , no. 5 (1986), pp. 62 5 (1986), pp. , no. An Answer to the Question: What Is the Question: What Is to An Answer Schreibzeit,” in 113. 113. , (London: Penguin Great Ideas, 2009). Ideas, Great , (London: Penguin Über 400 Jahre Bücher mit System — 11, here p. 3 p. 11, here the spatial arts after Lessing’s Laokoon essay. the spatial arts essay. after Lessing’s Laokoon 1924 – √ – + ∞ = Nasci — — , ed. Gerd de Vries (Cologne: DuMont, 1974), (Cologne: de Vries , ed. Gerd DuMont, 1974), 102, here pp. 97 pp. 102, here 50, here p. 38. p. 50, here — — rst time in the magazine ed. Jussen, Kunstwissenschaftliche Bibliothek 15, (Cologne: 2 2000), pp. König, Walther der Buchhandlung Verlag 15. p. here work. 25 This term is intended to signal the intimate union of activity and Form 26 Hartle, Johan Frederik ästhetischen arts Hartle the from consequences can be inferred asks what visual “spatial turn” in cultural studies for an understanding of the 27 Ian Burn and Mel Ramsden, who write, “In short, is there Cf. of or category itself, the context some chance, in treating modes of in new to take this context changing and expanding conduct outside of a strict notion of practice Das Kunstmagazin 18 Zeit & Stunde,” “Hanne Darboven: Ernst A. Busche, Das 19 im Geschichts- und Kultur Jochen Schlobach, “Aufklärung des 18. Jahrhunderts,” in denken Kulturwissenschaften Beiträge zum Diskurs der (Berlin: Akademie-Verlag, Naumann-Beyer Klein and Waltraud 3 1995), pp. 20 Ibid. Kant, 21 Immanuel Enlightenment 22 “What Is Enlightenment,” in Michel Foucault, 23 41. Ibid., p. 24 Formproblem: als schreiben Jussen, “Geschichte Bernhard Zur Edition der pp. 32 1984), Pantheon, pp. York: (New Rabinow ed. Paul Reader, in some notion of theory?” it until it can take expanding / Burn and Ramsden, “Some Notes on Practice and Theory Einige Bemerkungen über Praxis und Theorie,” in Artists’ Writings on the Changed Notion of Art After 1965 nach 1965 96 nach zum veränderten Kunstverständnis Künstlertexte Über Kunst: pp. 28 El Lissitzky, Lissitzky, fi 28 El the 29 in “K. und Pangeometrie,” El Lissitzky, Leipzig: Kiepenheuer, (1925; repr., Westheim Einstein and Paul 103 1984), pp. Bühne, Film, Mode: Plastik, Musik, Architektur, Literatur, Malerei, nicht unwichtige Nebenbemerkungen Außerdem

192 DARBOVEN_.indb 192DARBOVEN_.indb 192 DARBOVEN_.indb 193DARBOVEN_.indb193 44 For her tothe subject,butinsteadwithonomatopoeia,associations, and actioninanyconventional sense,onethatisunifi modifi Joyce meansthatthereader isconfronted notwithanovelistic thepresent12,2002.Theunreadability authoronJanuary of HanneDarboven Westheider inconversation withOrtrud and 43 42 Wedewer, stateofbecoming. theprocessual conceptionofthework, whichfi inlowercasing theterm“Werk” (werk) inorder toemphasize IntheGermanversion ofthistext, theauthorfollows Darboven 41 production andreception coincide. work, sincehere, through herconceptionofwriting-reading, respectively isinadequatetoaconfrontation withDarboven’s andbeholder terms“production” and“reception” toartist Cf. Wagner, hinauf,” “Schreibe p. 93.Theassignmentofthe 40 by Sartre inOctober of1945. by Sartre 47 books. publishedthetranscriptionsinartist’s reproductions. Theoriginalsare foundinDarboven’s Thesetranscriptionsare addedtothework intheformof 46 confrontation withhistory, seeBusche, “HanneDarboven: Zeit & background, positioning inNew herartistic York, andher Stunde.” conversation withthepresent author, 2000).OnDarboven’s tory, andwiththemassmurder of theJews (Darboven in confronted withherGermanheritage, his- DuringhertimeinNew York, HanneDarboven foundherself 45 backedition;seeDoherty, “HanneDarbovens ‘Real Writing’,” pp. pages, adoptingthepagination ofthedenselyprintedpaper- 38 Porter andEdward P. Morris, pp. Reason: TheUniversity intheEyes ofItsPupils 2 andbeyond.” onearth hismastery Derrida: informationcontent,itgives form,‘ zugleich.’ mation:“Informationdoesnotinformmerely by delivering an JacquesDerrida,too, hasemphasizedtheshapingofinfor- Graham,citedinWedewer, andcollectively in-formits‘menning’[ context) anditsrelationship tothereadership whoindividually contingentoftheactualcontingency ofplace(timeand theform),insteadits‘point-of-view’ iscontinuallyshifting, nothave apoint-of-view (mineorapriorideterminedby DanGrahamhasdefi 39 Les Temps modernes 1975 Schreibzeit — — 20. Odyssey 39. It installsmaninaformthatpermitshimtoensure ed ordeformedwords. Konzeption –Conception Bücher mit System Über 400Jahre

project, Darboven reproduced fi —

1981, vol. II,pp. 85 ned thetermasfollows: “Mywritingdoes is a literary andpoliticalreview isaliterary founded Konzeption –Conception Prestel_Hanne_Darboven derBitte umschnellstmögliche Druckfreigabe! mit PDF zur Ansicht, Diacritics 13,no. 3(autumn1983), in-formiert,’ ‘formiert ‘formiert in-formiert,’ — , n.p. 97. Parallel tothis, she sic] andstructure.” The Principleof , trans. Catherine nds itselfina ve hundred ed andrefers , n.p. CarlHanser, 1986).Accordingly, entitledhismemoirs Sartre not DerautobiographischeText im20.Jahrhundert Cf. Manfred Schneider, 50 49 Ibid. Review ofBooks Interview,” transl.by Paul AusterandLydia Davis, atSeventy: An “Sartre andMichelContat, Jean-Paul Sartre no. 27(June30,1975),pp. 85 at70,” Self-Portrait Depressed: Jean-Paul Sartre’s Thecaptionabove reads “IMustHave thearticle BeenVery 48 intheexhibition beginninginthelate1950s. E.C. Goossensur standsinthetraditionofparadigmchangethatemerged toward Withher critical attitude representation, Darboven 51 55 Ibid. Stroemfeld andRoter (BaselandFrankfurt: Stern,1989), pp. 7 1968),pp. 7 Museum ofModernArt, Minimalism: “This ‘art ofthereal,’ h Minimalism:“This‘art be and“objective-real” structures ofrecent abstractionand Still),allthewayto“nonhierarchical,” “crystalline,” Clyfford works Newman, ofgesturalpainting(Barnett MarkRothko, 4 EvaMeyer, “Autopoesie,” inMeyer, 54 pp. of 67 Paul deMan,“Autobiography asDefacement,”in 53 Romanticism Wagner hinauf,” “Schreibe p. 93(emphasisadded). 52 whathecan.”Goossen,“Preface andAcknowledgements,” in spectatorisnotgiven symbols, butfacts, tomake ofthem knockagainst,andapprehend innormalphysicalways. .The thethingswe experience every day:thethingswe see,feel, The Art oftheReal: USA1948The Art realistic – Ma Vie,butLesMots — — 40, here p. 16. 82, here p. 69. i.e. (New York: University Columbia Press, 1984), like , August 7, 1975. , August7,1975. The Art oftheReal: USA1948The Art the real –buttobeasreal initselfas Die erkaltete Herzensschrift: Die erkalteteHerzensschrift: . Seite 193 — 87. For anEnglishversion, see

—

1968, exh. cat.(New York: owever, owever, Autobiographie derSchrift — 11, here p. 9. does notstrive to veyed thischange

— (Munich:

1968 with New York The Rhetoric Der Spiegel,

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