Hanne Darboven submitted her works to a clear, artist-defined structure that allowed her to generate a visual form for the contingencies and relationships that emerged from the numerical process. Darboven’s method strikes a contrast to Ruth Wolf-Rehfeldt, who composed her work using patterns and combinations of typewriter characters. Despite their differences, both artists shared an interest in the productive potential of external structures.*
Through September 19, by appointment.
7A Grafton Street, Mayfair, London.
From top: Ruth Wolf-Rehfeldt, Divided Planet, circa mid-1970s, carbon copy of original typewriting; Hanne Darboven, Untitled (Early Construction Drawings New York), 1966 / 1967, pencil and ballpoint on graph paper; Hanne Darboven, Dostojewski, Monat Januar, 1990, ink and silver gelatin silver print on paper; Darboven, photograph by Angelika Platen; Wolf-Rehfeldt, portrait, circa 1960, courtesy and © Robert Rehfeldt and Ruth Wolf-Rehfeldt; Hanne Darboven, Untitled (Early Construction Drawings New York), 1966 / 1967, pencil on paper; Hanne Darboven, Ost-West-Demokratie, 1983, felt-tip pen on postcards, textile flags of the Soviet Union, United States, GDR, and BRD. Images courtesy and © Ruth Wolf-Rehfeldt, the Hanne Darboven Foundation, and Sprüth Magers.