Relevant bibliographies by topics / Darboven, Hanne

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Academic literature on the topic 'Darboven, Hanne'

Author: Grafiati
Published: 22 February 2023
Last updated: 19 July 2025

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Journal articles on the topic "Darboven, Hanne"

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Stewart, William. "Cycle and Citation: What Hanne Darboven Calls Thinking." October, no. 187 (2024): 27–62. http://dx.doi.org/10.1162/octo_a_00507.

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Abstract This article analyzes the significance of cyclical forms in the art of Hanne Darboven by reexamining the place of Constructivism and capitalism in her work. It tracks the lasting importance of El Lissitzky for her understanding of the relation between art and mathematics, revealing how Darboven borrowed from Lissitzky a particular interest in oscillatory dynamics. Further, it establishes the influence on Darboven's artistic practice of Georg Christoph Lichtenberg, particularly his method of note-taking—derived from accountants' ledgers—called sudeln. While sudeln works exhibit the oscillatory dynamics described by Lissitzky, they also offers a language for the vast array of citations that Darboven inscribed in her art. The concept of sudeln thus provides a framework for understanding the self-organizing and autopoietic operations that underwrite the paper machines of Darboven's practice. The article concludes by locating this same cyclical, oscillatory form in the most fundamental and abstract of Darboven's gestures, the wavy script that she called Schriftschwünge. In doing so, the article discovers an unexpected emergence of the biographical in Darboven's artworks, notebooks, and letters, in contrast to the anonymous and depersonalized aesthetic with which she is often associated.
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Dickel, Hans. "Deutsch-deutsche Kunstgeschichte am Beispiel von Hanne Darboven und Werner Tübke." Zeitschrift für Kunstgeschichte 79, no. 1 (2016): 92–114. http://dx.doi.org/10.1515/zkg-2016-0006.

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Abstract Deutsch-deutsche Kunstgeschichte am Beispiel von Hanne Darboven und Werner Tübke The histories of art in former East and West Germany have been described as evolving synchronously. This article, arguing from another point of view, analyzes two works from the 1980s, both of them outstanding in purpose and size: Werner Tübke’s monumental painting Frühbürgerliche Revolution in Deutschland in the Museum Bad Frankenhausen (formerly GDR) and Hanne Darboven’s Bismarckzeit in the Kunstmuseum Bonn (FRG). The investigation into their subjects, forms, and contents within their historical contexts – the period of Erich Honecker’s claim for a socialist tradition and Helmut Schmidt’s Realpolitik, respectively – reveals a greater distinctness grounded on different concepts of art, i.e., anti-modern (Tübke) versus modernist (Darboven). Nevertheless, in their view of German history a common kind of scepticism about teleology may be discerned, which is based on the artists’ shared experiences of Germany’s disastrous contribution to the twentieth century.
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Lauder, Adam. "‘Alien Qualities’: Hanne Darboven – constructing time." Technoetic Arts 11, no. 2 (2013): 131–47. http://dx.doi.org/10.1386/tear.11.2.131_1.

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Wilson, J. "‘Schreibzeit’ (marking time): an exploration of the permutational art and calendar calculations of Hanne Darboven." Journal of Mathematics and the Arts 15, no. 3-4 (2021): 261–74. http://dx.doi.org/10.1080/17513472.2021.1996677.

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Rocher, Sébastien. "Soll und Haben et Welttheatter ‘79 , Hanne Darboven (1997), Herstellung : Köllen Druck+Verlag, Bonn, 64 pages." ACCRA N° 23, no. 2 (2025): 146–48. https://doi.org/10.3917/accra.023.0146b.

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Salinger, Victoria. "“Writing Calculations, Calculating Writing”: Hanne Darboven's Computer Art." Grey Room 65 (October 2016): 36–61. http://dx.doi.org/10.1162/grey_a_00207.

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Sissia, Julie. "Verena Berger, Hanne Darboven Boundless." Critique d’art, May 20, 2017. http://dx.doi.org/10.4000/critiquedart.21436.

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Dissertations / Theses on the topic "Darboven, Hanne"

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Baldacci, Cristina <1977&gt. "Ripensare l'archivio nell'arte contemporanea : Marcel Broodthaers, Hanne Darboven, Hans Haacke." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1128.

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Questo studio si propone di raccontare in quale particolare momento il tema dell’archivio sia diventato rilevante nell’arte, e quali ruoli, significati e forme abbia assunto nella pratica contemporanea. Lo slancio archivistico-tassonomico che percorre il Novecento non è una prerogativa esclusiva delle prime avanguardie, né delle rinnovate strategie di appropriazione, riadattamento e montaggio tipiche delle ultime tendenze dell’arte. Esso ha radici storico-filosofiche assai più profonde, che dalla modernità conducono a ritroso nel tempo in un incessante e vertiginoso desiderio di controllo e misurazione dell’io e della struttura generale del mondo, e riguarda da vicino il mutamento tecnico e concettuale globale avvenuto negli anni Sessanta e Settanta. Obiettivo di questa ricerca è tracciare un’ipotesi di lettura della rinascita contemporanea dell’archivio, attraverso tre esperienze artistiche contemporanee esemplari: Marcel Broodthaers (l’archivo come critica istituzionale), Hanne Darboven (l’archivio come cosmologia personale), Hans Haacke (l’archivio come impegno sociale e politico).<br>The purpose of this research is considering in which specific moment the issue of the archive became relevant in art, and which roles, meanings and forms it gained in contemporary practice. The archival and taxonomic impulse that goes through the entire 20th century is not an exclusive feature neither of the first Avant-gardes nor of the recent art tendencies with their strategies of appropriation, renovation and montage. It has much deeper historical and philosophical roots that from Modernity go backwards in time in a perpetual and vertiginous desire of control and measuring of both the self and the general structure of the world. And it concerns must of all the technical and conceptual revolution that took place in the Sixties and Seventies. The intent of this dissertation is to outline a reading hypothesis of the contemporary revival of the archive through three exemplary case studies: Marcel Broodthaers (the archive as institutional critique), Hanne Darboven (the archive as personal cosmology), Hans Haacke (the archive as social and political commitment).
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Stieda, Kalie. "The world is real : writing, counting, and reading in the art of Hanne Darboven." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62757.

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This thesis seeks to approach the work of German artist Hanne Darboven (1941-2009) through the operations of writing, counting, and reading. In the language of New German Media Theory, these operations are known as elementary cultural techniques. I will trace the thematization of these techniques by analyzing Hanne Darboven’s art through what are known as her text formulations (schreibe, beschreibe nicht, schreibe rechnen/rechne schreiben, and gedankenstrich). These formulations are all inherently tautological, an aspect which links them to the recursivity of cultural techniques. These techniques are “articulations of the real,” ontic operations that exist a priori of the ontological concepts they generate, producing a difference between established pillars of meaning. Though many critics of Darboven see her art as the evocation of transcendental concepts like history and time, my research will show that Darboven is ultimately concerned with how these operations ground her process in the fabric of the world. Darboven’s art is not a rational realization of the values of the Enlightenment, nor is it a mathematical proof with infinite variations. It is rather a recursive system that is infinite only in its repetition of its own process, which is also a personal method of coping with daily life invented by the artist.<br>Arts, Faculty of<br>Central Eastern Northern European Studies, Department of<br>Graduate
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Jespersen, Andrea. "Mind Circles : on conceptual deliberation : Hanne Darboven and the trace of the artist's hand." Thesis, Northumbria University, 2015. http://nrl.northumbria.ac.uk/27631/.

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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 dematerialisation 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. I discuss the many contradictions embedded in her practice, and establish how critics and theorists consistently simplified her work by predominately focusing on the conceptual aspects of her art practice. The thesis maps and analyses the historically disregarded fact that Darboven’s practice depended on materiality, as present in both her intensively temporal handmade processes and her methodologies of collecting. To explore the current legacy of this analysis I contextualise contemporary encounters related to fine art practice and conclude with a dialogue, artist-to-artist, with Lucy Skaer.
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Woithe, Gabriele. "Das Kunstwerk als Lebensgeschichte zur autobiographischen Dimension bildender Kunst." Berlin Logos-Verl, 2007. http://d-nb.info/991379152/04.

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Klaus, Agata [Verfasser], and Monika [Akademischer Betreuer] Wagner. "Transferprozesse in der Conceptual Art : Hanne Darboven, Hans Haacke und Franz Erhard Walther in New York / Agata Klaus ; Betreuer: Monika Wagner." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2018. http://d-nb.info/1156462177/34.

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Wear, AP. "Concept & form : post-philosophical studies in contemporary art." Thesis, 2010. https://eprints.utas.edu.au/22259/1/whole_WearAndrewPeter2010_thesis.pdf.

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This thesis identifies a problem within current philosophical perspectives concerning contemporary visual art, namely, the underestimation of the unique qualities of a concept in visual form. There is a related deficit in the literature about both the practice of contemporary art making as a cognitive manipulation of concept and form, and the ways in which the viewer might dissect the relationship between concept and form in philosophical inquiry. This thesis explores two central claims. First, that visual art allows for a spatial and temporal conflation of concept that manufactures a unique philosophical realm more readily cognitively assimilated than with the written or spoken word. Second, that a post-philosophical reading of some contemporary art works is possible whereby both pursuits might inform each other, forging expanded potential in inquiry. The thesis takes the form of detailed case studies of single works of art and their relationship with particular models/instances/paradigms of philosophical thinking. Presenting select works of art by Joseph Beuys, Anselm Kiefer and Hanne Darboven, the thesis explores how this range of contemporary works of art engage concurrently produced works of philosophy. This thesis ends with the author's personal account of the cognitive manipulation of concept and form as an insight into the creation of a work of art. The thesis submits that a greater understanding of contemporary art practice - from conception to exhibition - can vitalize philosophical inquiry by illuminating the cognitive process beyond written and spoken language. Scope for further research might incorporate questions concerning the emancipatory qualities of a more accessible philosophical realm, particularly concerning pedagogical or political engagement with visual representation. Such research would necessitate ongoing attention to the method and practice of 'readmg' visual representation.
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Books on the topic "Darboven, Hanne"

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Darboven, Hanne. Hanne Darboven. Institut für Auslandsbeziehungen, 2000.

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Darboven, Hanne. Hanne Darboven. Kyoto Shoin, 1990.

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Bernhard, Jussen, Oexle Otto Gerhard, and Busche Ernst A, eds. Hanne Darboven: Schreibzeit. W. König, 2000.

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Miriam, Schoofs, and P420 arte contemporanea (Gallery), eds. Hanne Darboven: Index. P420, 2012.

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Darboven, Hanne. Hanne Darboven: Ansichten '85. Christians, 1989.

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Darboven, Hanne. Hanne Darboven: Hommage à Picasso. Hatje Cantz Verlag, 2006.

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Darboven, Hanne. Hanne Darboven: Evolution Leibniz, 1986. Cantz, 1996.

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Adler, Dan. Hanne Darboven: Cultural History, 1880-1983. Afterall Books, 2009.

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Adler, Dan. Hanne Darboven: Cultural History, 1880-1983. Afterall Books, 2009.

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Adler, Dan. Hanne Darboven: Cultural History, 1880-1983. Afterall Books, 2009.

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Reports on the topic "Darboven, Hanne"

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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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