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, 1970/71
Photo: Mareike Tocha © Mudam Luxembourg
Photo: Mareike Tocha © Mudam Luxembourg
Radical Software: Women, Art & Computing 1960-1991
Group Exhibition
Kunsthalle Wien
Through May 25, 2025
Radical Software: Women, Art & Computing 1960–1991 is the first survey to study 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 one hundred works by fifty artists from fourteen countries, the exhibition includes painting, sculpture, installation, film, performance and many computer-generated drawings and texts created in the pre-internet era. A principally analogue exhibition about digital art, it spans a period marked by the so-called second wave of feminism during which the computer migrated from institutional laboratories to private, domestic space. Focusing entirely on female figures, it documents a lesser-known history of the inception of digital art, countering conventional narratives on art and technology.
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