Hanne Darboven 12 Rue Du Grand Cerf, 1000, Brussels March 16 – May 4, 2013 Opening Friday, March 15

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Hanne Darboven 12 Rue du Grand Cerf, 1000, Brussels March 16 – May 4, 2013 Opening Friday, March 15 Gladstone Gallery is pleased to present an exhibition of Hanne Darboven’s multipart work Kalendergeschichten, which is installed at our Brussels gallery. Darboven, a German conceptual artist, is best known for her large-scale, minimalist works, and her meditation on time, a theme fundamental to her practice. In the mid-1960s, Darboven moved to New York, where she grew interested in conceptual art and developed a fascination with numerical sequences. This interest became foundational to her work, and much of her work evidences a visual vocabulary derived from numerical sequences of four to six digits, drawn from the standard Gregorian calendar. Of her use of numbers Darboven said, “I only use numbers because it is a way of writing without describing…I choose numbers because they are so constant, confined, and artistic. Numbers are probably the only real discovery of mankind.” Kalendergeschichten features a series of 212 drawings made in the 1970s and framed in groups of four, which are displayed wrapped around the walls of the gallery. Emblematic of Darboven’s calendar works, this piece provides a system for meditating on the passage of time, while also reflecting on the clarity of time’s inherent order, endowing the temporal with a concrete form. Hanne Darboven was born in 1941 in Munich, Germany and died in 2009 in Hamburg, Germany. She participated in numerous exhibitions at major museums in Europe and North America, including “Hanne Darboven, Bücher 1966-2002″ at the Westfälisches Landesmuseum, Münster (2002); “Reconsidering the Object of Art: 1965-1975″ at the Museum of Contemporary Art, Los Angeles (1995-96); and “Live in Your Head: When Attitudes Become Form: Works-Concepts-Processes-Situations-Information” at the Kunsthalle Bern (1969). She also participated in Documentas 5 (1972), 6 (1977), 7 (1982), and 11 (2002), in Kassel; the 1973 São Paulo Bienal; and the 1982 Venice Biennale. Her work is included in a number of permanent collections including the Schaulager, Basel; Centre Georges Pompidou, Paris; the Solomon R. Guggenheim Museum, New York; and the Museum of Modern Art, New York. Miroslaw Balka Marisa Merz “The Order of Things” 515 West 24th Street 530 West 21st Street April 5 – May 18, 2013 February 22 – March 30, 2013 Opening April 4, 6 – 8 pm For further information, please contact Abby Margulies +1 212 206 9300 or [email protected] Brussels gallery hours: Tuesday – Friday, 10am – 6pm, Saturday, 12pm – 6pm New York gallery hours: Tuesday – Saturday, 10am – 6pm .

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Hanne Darboven Abstract Correspondence
1 Hanne Darboven Abstract Correspondence Hanne Darboven Abstract Correspondence Published on the occasion of the exhibition Hanne Darboven, A Survey April 11 - May 24, 2013 Castelli “i can’t describe so i will write”: Hanne Darboven’s Abstract Correspondence Cathleen Chaffee “The simplest thing we could say would be that art—all art, abstract or not— reveals what the subject makes of its condition—the condition of language. It shows what the subject … invents to face the paradox of a condition on which we are dependent but which to a large, definitive extent we cannot control.”1 – Birgit Pelzer For many years, I have had a maxim on composition by Hanne Darboven pinned above my writing desk, a statement she repeated so often it became a kind of manifesto: “I do like to write and I don’t like to read / one plus one is one two.”2 When Darboven was alive, I repeated the adage because it was affirming and even encouraging to know that she was probably sitting at a desk in Harburg, near Hamburg laying words, numbers, and symbols down on the page, diligently completing sheaves of work. The idea that made her pick up a pen each day may opposite page have required research and been difficult to conceptualize, but writing it out, 15/2/74 - 4/3/74. NYC “TODAY”, 1974 giving it symbolic form, was just a matter of time. However, it was not just the Pen and marker on amount of writing Darboven seemed to so fluidly produce that made her inspi- a 32-page notebook 1 3 8 /4 x 5 /4 inches rational as a writer; it was her approach to the reader.
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Documenta 5 Working Checklist
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FOR IMMEDIATE RELEASE June 29, 2016 Dia Art Foundation to Open Two New Installations at Dia:Chelsea on November 5, 2016 Collecti
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Hanne Darboven Writing Time John K
Document généré le 27 sept. 2021 12:39 Espace Sculpture Hanne Darboven Writing time John K. Grande Concours ESPACE/CRITIQUE Numéro 17, automne 1991 URI : https://id.erudit.org/iderudit/944ac Aller au sommaire du numéro Éditeur(s) Le Centre de diffusion 3D ISSN 0821-9222 (imprimé) 1923-2551 (numérique) Découvrir la revue Citer cet article Grande, J. K. (1991). Hanne Darboven: Writing time. Espace Sculpture, (17), 29–31. Tous droits réservés © Le Centre de diffusion 3D, 1991 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ V* run ID Hanne Darboven Writing lime John K. Grande ESPACE 17 AUTOMNE /FALL 1991 29 Ydessa Hendeles Art Foundation, and accompanied by music composed by Darboven In Quartett 88 (1988), we again see a centrepiece May 18-lune 13,1991 and Friedrich Stoppa, thisexhibition does not imme that offsets the walls of transcribed annotations, an Hanne Darboven's current show at diately shock but steadily progresses to give a feeling antique manikin of a woman intended to represent the Ydessa Hendeles Art Founda of claustrophobia, of being overwhelmed, oppressed "everywoman" from the past but whose arms and tion in Toronto, her largest ever in by a history that is more tawdry, less heroic than the fingers are missing.
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Hanne Darboven
Hanne Darboven Biographie / Biography 1941 geboren / born in Munich, D 1962-65 Studium / studied at Hochschule für Bildende Künste (HfBK), Hamburg, D 1966-68 lebt und arbeitet / lives and works in New York, USA 1967 Mitglied der / member of the Akademie der Künste, Berlin, D 2009 gestorben / died in Hamburg, D Auszeichnungen und Preise / Selected Awards and Grants 1995 Internationaler Preis des Landes Baden-Württemberg für Bildende Kunst, D 1994 Lichtwark-Preis der Freien und Hansestadt Hamburg, D 1986 Edwin-Scharff-Preis der Freien und Hansestadt Hamburg, D Einzelausstellungen / Selected solo exhibitions 2019 ‘Erdkunde und (Süd-) Koreanischer Kalender’, Sprüth Magers, Berlin, D 2018 ‘Hanne Darboven’s Address – Place and Time’, Princeton University, Princeton, USA 2017 ‘Korrespondenzen’, Hamburger Bahnhof, Museum für Gegenwart, Berlin, D ‘Gepackte Zeit’, Deichtorhallen Sammlung Falckenberg, Hamburg, D ‘Hanne Darboven - Schreibzeit’, Studiengalerie 1.357, Goethe-Universität, Frankfurt am Main, D ‘Wunschkonzert’, Konrad Fischer Galerie, Berlin, D 2016 ‘Kulturgeschichte 1880-1983’, DIA Art Foundation, Chelsea, USA Sprüth Magers, Los Angeles, USA 2015 'Hanne Darboven: Aufklärung – Zeitgeschichten. Eine Retrospektive‘, Bundeskunsthalle, Bonn, D/ Haus der Kunst, München, D 'Hanne Darboven (Zeit und Musik), Hanne Darboven: Bläserquintett’, Talbot Rice Gallery, Edinburgh, UK ‘accepting anything among everything‘, Talbot Rice Gallery, Edingburgh, UK 2014 'El tiempo y las cosas. La casa estudio de Hanne Darboven', Museo Nacional Centro de Arte
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Hanne Darboven's Computer
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Hanne Darboven, Ruth Wolf-Rehfeldt Zeichen Der Zeit / Zeit Der Zeichen Sign of the Times / Times of the Sign July 9, 2020 Sprüth Magers, London
Press Release Hanne Darboven, Ruth Wolf-Rehfeldt Zeichen der Zeit / Zeit der Zeichen Sign of the Times / Times of the Sign July 9, 2020 Sprüth Magers, London Following Hanne Darboven’s solo exhibition at the gallery’s Berlin premises, Monika Sprüth and Philomene Magers are pleased to present ZEICHEN DER ZEIT / ZEIT DER ZEICHEN / SIGN OF THE TIMES / TIMES OF THE SIGN, a juxtaposition of the artist’s work with that of Ruth Wolf-Rehfeldt at the London gallery. While Ruth Wolf-Rehfeldt (*1932 Wurzen, lives in Berlin), pursued her artistic activities as an autodidact in East Berlin in the days of a divided Germany, Hanne Darboven (1941–2009) grew up in Hamburg’s Harburg district in the western part of the country. Darboven completed her art studies in 1966 and took up residence in New York, where she quickly joined the creative epicentre around Sol LeWitt, Carl Andre, Joseph Kosuth and other minimal and conceptual artists. It must have seemed like self-chosen exile when Darboven returned to her parental home in 1969, where she would spend the rest of her life devoted to her work. However, the artist soon established herself as a very active part of the international art scene, thanks to numerous exhibitions and especially her close written correspondence with peers. Ruth Wolf-Rehfeldt was by contrast involuntarily cut off from most the Western (art) world as a consequence of the political situation in Germany. In the 1970s, Wolf- Rehfeldt and her husband Robert Rehfeldt became East Germany’s most active co- initiators of the Mail Art movement; it was her sole channel for exchanging ideas with other artists around the world.
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Hanne Darboven and the Trace of the Artist's Hand
Mind Circles: on conceptual deliberation −Hanne Darboven and the trace of the artist's hand A JESPERSEN PhD 2015 Mind Circles: on conceptual deliberation −Hanne Darboven and the trace of the artist's hand Andrea Jespersen MA (RCA) A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences May 2015 2 Abstract The phrase ‘de-materialisation of the art object’ has frequently assumed the mistaken role of a universal definition for original conceptual art. My art practice has prompted me to reconsider the history of the term de- materialisation to research another type of conceptual art, one that embraces materiality and incorporates cerebral handmade methods, as evidenced in the practice of the German artist Hanne Darboven. This thesis will establish that materiality and the handmade – the subjective – was embraced by certain original conceptual artists. Furthermore, it argues that within art practices that use concepts, the cerebral handmade can function to prolong the artist’s conceptual deliberation and likewise instigate a nonlinear conscious inquisitiveness in the viewer. My practice-based methodologies for this research involved analogue photography, drawing, an artist residency, exhibition making, publishing, artist talks and interdisciplinary collaborations with various practices of knowledge. The thesis reconsiders the definition of conceptual art through an analysis of the original conceptual art practices initiated in New York City during the 1960s and 1970s that utilised handmade methods. I review and reflect upon the status of the cerebral handmade in conceptual art through a close study of the work of Hanne Darboven, whose work since 1968 has been regularly included in conceptual art exhibitions.
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Hanne Darboven Writing Time John K
Document generated on 10/02/2021 2:47 a.m. Espace Sculpture Hanne Darboven Writing time John K. Grande Concours ESPACE/CRITIQUE Number 17, Fall 1991 URI: https://id.erudit.org/iderudit/944ac See table of contents Publisher(s) Le Centre de diffusion 3D ISSN 0821-9222 (print) 1923-2551 (digital) Explore this journal Cite this article Grande, J. K. (1991). Hanne Darboven: Writing time. Espace Sculpture, (17), 29–31. Tous droits réservés © Le Centre de diffusion 3D, 1991 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ V* run ID Hanne Darboven Writing lime John K. Grande ESPACE 17 AUTOMNE /FALL 1991 29 Ydessa Hendeles Art Foundation, and accompanied by music composed by Darboven In Quartett 88 (1988), we again see a centrepiece May 18-lune 13,1991 and Friedrich Stoppa, thisexhibition does not imme that offsets the walls of transcribed annotations, an Hanne Darboven's current show at diately shock but steadily progresses to give a feeling antique manikin of a woman intended to represent the Ydessa Hendeles Art Founda of claustrophobia, of being overwhelmed, oppressed "everywoman" from the past but whose arms and tion in Toronto, her largest ever in by a history that is more tawdry, less heroic than the fingers are missing.
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Hanne Darboven
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