Hanne Darboven (1941–2009) is considered one of the most important and enigmatic figures in postwar German art. Though based in Hamburg, it was during a two-year stay in New York in the late 1960s that the conceptual artist discovered what would become her life-long project: the spatializing and visualization of time in its various forms—as lifetime, time working and writing, and historical time. Monika Sprüth and Philomene Magers have the exclusive privilege of working with the Hanne Darboven Foundation, the foundation entrusted with the artist’s estate.
Hanne Darboven, Ein Jahrhundert-ABC, 1970/1971, installation view, Mudam, Luxembourg, 2024
Photo: Mareike Tocha
Photo: Mareike Tocha
Radical Software: Women, Art & Computing 1960–1991
Group Exhibition
Mudam, Luxembourg
Through February 2, 2025
Radical Software: Women, Art & Computing 1960–1991 surveys the history of digital art from a feminist perspective, focusing on women who worked with computers as a tool or subject and artists who worked in an inherently computational way.
Comprising more than 100 works by fifty artists from fourteen countries, it spans a period from the first years of integrated circuit computing in the 1960s to the “microcomputer revolution,” which led to the birth of home computing in the 1980s.
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