Hanne Darboven. Photo: Angelika Platen | bpk 

 

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.

 

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Darboven’s interest in representing the mechanisms of time emerged early in her career, manifesting in the form of diagram compositions, columns of numbers and constructivist drawings. Her time in New York exposed her to the work of artists including Sol LeWitt, Lawrence Weiner and Carl Andre. Darboven thus became part of the scene that laid the theoretical and aesthetic groundwork for conceptual and minimal art—eschewing notions of artistic subjectivity, advancing the principle of serialism, and insisting on the viewer’s perception as a substantial, participatory force in the creation of the artwork itself.

Darboven embodied LeWitt’s idea of the artist operating “merely as a clerk cataloging the results of the premise” more consistently than any other conceptual artist of the day. She developed a handwritten notation system that recalled digital datasets, evoking the aesthetics of the early computer age. Within that notation system Darboven explored the reality of the calendar as a supposedly objective instrument for measuring time. She came up with a specific way of doing cross-sum calculations that she used to convert the numbers of a given calendar date into individual digits. Afterwards, she converted those digits into increasingly elaborate visual form of writing that employed vectors, boxes or wavy lines. It was through this act of writing that she chronicled her own lifetime, which she devoted almost entirely to her work. This time-writing resulted in works such as Weltansichten 00–99 (1975–80), which consist of hundreds, sometimes thousands of identically framed compositions on paper, hanging in enormous grids that blanket the walls of entire exhibition venues.

Darboven’s later, even more monumental works including Kulturgeschichte 1880–1983 (1980–83) shifted focus to the temporal present as a phenomenon that always already contains both the past and future. She devoted weeks to producing handwritten copies of texts such as Homer’s Odyssey and Sartre’s The Words, and invented an elaborate system to convert many of her date drawings into scores for hypnotic pieces of music. Expansive installations feature a combination of calendar works, photos, postcards, school materials, musical instruments, store mannequins, and other found objects or images. Darboven was convinced of the principles of classical Enlightenment and gestured to ideas of a universal education. She offered connections between historical events, epistemological detritus, and private moments, often distinguishing herself as a keen observer of contemporary politics.

In attempting to decipher Hanne Darboven’s works, viewers become cognizant of more than just the limited nature of their own lifetimes. They also become conscious of the fact that there is no such thing as “objective time” and that time, in human perception, can only ever be an amalgamation of feelings, memories and thoughts. For Darboven it is no linear process, but an impenetrable, highly subjective plexus of parallel phenomena.

 

Hanne Darboven
Sechs Bücher über 1968 / Six Books about 1968, 1969
6 16-mm films transferred to digital video, b/w, silent, approx. 15 min each (excerpt)
© Hanne Darboven Foundation, Hamburg
VG Bild-Kunst, Bonn, 2020

Works
Hanne Darboven Foundation
Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986
723 sheets of Collage (photo copy, photograph), felt pen, pencil on paper;
10 classroom maps with tripods
723 panels, each 70 x 50 cm / 27 5/8 × 19 3/4 inches;
10 classroom maps with tripods

More views
Hanne Darboven Foundation
Hanne Darboven
Ost-West-Demokratie, 1983

Hanne Darboven
Ost-West-Demokratie, 1983
Felt-tip pen on postcards, flags of the Soviet Union, USA, GDR and BDR from textile
190 parts
each 50 × 70 cm (framed)
each 19 3/4 × 27 5/8 inches (framed)

Hanne Darboven Foundation
Hanne Darboven
Ohne Titel, Titanic Nr. 1 (Birne), 1983

Hanne Darboven
Ohne Titel
Titanic Nr. 1 (Birne)
, 1983
Collage, felt pen
3 Tafeln. je 69.8 × 49.7 cm
3 panels, 27 1/2 × 19 5/8 inches each
3 Tafeln. je 71.6 × 51.6 cm (framed)
3 panels, 28 1/8 × 20 1/4 inches each (framed)

More views
Hanne Darboven Foundation
Hanne Darboven
Dostojewski, Monat Januar / Dostojewski, month of January, 1990

Hanne Darboven
Dostojewski, Monat Januar, 1990
Ink and gelatin silver print collage on paper, in 16 parts
each 22.5 × 29.5 cm
overall 90 × 118 cm (framed)
each 8 7/8 × 11 5/8 inches
overall 35 3/8 × 46 1/2 inches (framed)

Hanne Darboven Foundation
Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983
1590 sheets; 19 objects of different sizes
52.7 × 73 × 2.2 cm (framed)
20 3/4 × 28 3/4 × 7/8 inches (framed)

More views
Hanne Darboven Foundation
Hanne Darboven
Erdkunde und (Süd-) Koreanischer Kalender
Installation view, Sprüth Magers, Berlin, September 12, 2019–February 26, 2020

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Collage: felt pen, offset print on paper (Tear-Off Calendar)
366 sheets
50 × 70 cm each
19 3/4 × 27 5/8 inches each

More views
Hanne Darboven Foundation
Hanne Darboven
Ohne Titel, Monate mit Postkarten (Januar 1990), 1990

Hanne Darboven
Ohne Titel
Monate mit Postkarten (Januar 1990)
, 1990

Hanne Darboven Foundation
Hanne Darboven
Webstuhlarbeit, Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope, 1996

Hanne Darboven
Webstuhlarbeit
Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope
, 1996
10 lined note books, each with felt pen and 2 b/w photographs; 344 photo copies
10 DIN-A6 Hefte je 14. 8 × 10.5 cm;
334 Blätter à 29.7 × 21 cm
10 note books 5 7/8 × 4 1/8 inches each;
334 sheets 11 3/4 × 8 1/4 inches each
31.6 x 22.9 cm (if framed) (framed)
31.6 x 22.9 cm (if framed) (framed)

More views
Hanne Darboven Foundation
Hanne Darboven
Bismarckzeit, 1978

Hanne Darboven
Bismarckzeit, 1978
Ink on transparent paper, offset print, bronze sculpture
917 sheets
each 42 × 29.7 cm
each 16 1/2 × 11 3/4 inches

Hanne Darboven Foundation
Hanne Darboven
Untitled (early construction drawings New York), 1966/67

Hanne Darboven
Untitled (early construction drawings New York), 1966/67
Pencil on paper
71 × 71 cm
28 × 28 inches

Hanne Darboven Foundation
Hanne Darboven
Untitled (early construction drawings, New York), 1966/67

Hanne Darboven
Untitled (early construction drawings, New York), 1966/67
Pencil and ballpoint on graph paper
44.8 × 56.6 cm
17 5/8 × 22 1/4 inches

Hanne Darboven Foundation
Hanne Darboven
Leben, leben (Life, living), 1998

Hanne Darboven
Leben, leben (Life, living), 1998
2782 sheets: typewriter, ball pen, felt pen on paper; photography; 32 photographs; 2 doll's houses
2781 sheets: dimensions variable
32 photographs, 30 × 20 cm / 11 7/8 × 7 7/8 inches each
2 doll's houses

More views
Details
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986
723 sheets of Collage (photo copy, photograph), felt pen, pencil on paper;
10 classroom maps with tripods
723 panels, each 70 x 50 cm / 27 5/8 × 19 3/4 inches;
10 classroom maps with tripods

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986 (detail)

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986 (detail)

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Erdkunde I, II, III (Geography I, II, III), 1986 (detail)

Hanne Darboven
Erdkunde I, II, III / Geography I, II, III, 1986
Hanne Darboven Foundation

Hanne Darboven
Ost-West-Demokratie, 1983
Felt-tip pen on postcards, flags of the Soviet Union, USA, GDR and BDR from textile
190 parts
each 50 × 70 cm (framed)
each 19 3/4 × 27 5/8 inches (framed)

Hanne Darboven
Ost-West-Demokratie, 1983
Hanne Darboven Foundation

Hanne Darboven
Ohne Titel
Titanic Nr. 1 (Birne)
, 1983
Collage, felt pen
3 Tafeln. je 69.8 × 49.7 cm
3 panels, 27 1/2 × 19 5/8 inches each
3 Tafeln. je 71.6 × 51.6 cm (framed)
3 panels, 28 1/8 × 20 1/4 inches each (framed)

Hanne Darboven
Ohne Titel, Titanic Nr. 1 (Birne), 1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Ohne Titel
Titanic Nr. 1 (Birne)
, 1983 (detail)

Hanne Darboven
Ohne Titel, Titanic Nr.1-1983 (Birne), 1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Ohne Titel
Titanic Nr. 1 (Birne)
, 1983 (detail)

Hanne Darboven
Ohne Titel, Titanic Nr.1-1983 (Birne), 1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Ohne Titel
Titanic Nr. 1 (Birne)
, 1983 (detail)

Hanne Darboven
Ohne Titel, Titanic Nr.1-1983 (Birne), 1983
Hanne Darboven Foundation

Hanne Darboven
Dostojewski, Monat Januar, 1990
Ink and gelatin silver print collage on paper, in 16 parts
each 22.5 × 29.5 cm
overall 90 × 118 cm (framed)
each 8 7/8 × 11 5/8 inches
overall 35 3/8 × 46 1/2 inches (framed)

Hanne Darboven
Dostojewski, Monat Januar / Dostojewski, month of January, 1990
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983
1590 sheets; 19 objects of different sizes
52.7 × 73 × 2.2 cm (framed)
20 3/4 × 28 3/4 × 7/8 inches (framed)

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983 (detail)

Hanne Darboven
Kulturgeschichte 1880-1983, 1980-1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983 (detail)

Hanne Darboven
Kulturgeschichte 1880-1983, 2015
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983 (detail)

Hanne Darboven
Kulturgeschichte 1880-1983, 2015
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983 (detail)

Hanne Darboven
Kulturgeschichte 1880-1983, 1980-1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983 (detail)

Hanne Darboven
Kulturgeschichte 1880-1983, 1980-1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983 (detail)

Hanne Darboven
Kulturgeschichte 1880-1983, 1980-1983
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Kulturgeschichte 1880–1983, 1980–1983 (detail)

Hanne Darboven
Kulturgeschichte 1880-1983, 1980-1983
Hanne Darboven Foundation

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Collage: felt pen, offset print on paper (Tear-Off Calendar)
366 sheets
50 × 70 cm each
19 3/4 × 27 5/8 inches each

Hanne Darboven
Erdkunde und (Süd-) Koreanischer Kalender
Installation view, Sprüth Magers, Berlin, September 12, 2019–February 26, 2020
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991

Hanne Darboven
Erdkunde und (Süd-) Koreanischer Kalender
Installation view, Sprüth Magers, Berlin, September 12, 2019–February 26, 2020
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991

Hanne Darboven
Erdkunde und (Süd-) Koreanischer Kalender
Installation view, Sprüth Magers, Berlin, September 12, 2019–February 26, 2020
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991

Hanne Darboven
Erdkunde und (Süd-) Koreanischer Kalender
Installation view, Sprüth Magers, Berlin, September 12, 2019–February 26, 2020
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991

Hanne Darboven
Erdkunde und (Süd-) Koreanischer Kalender
Installation view, Sprüth Magers, Berlin, September 12, 2019–February 26, 2020
Hanne Darboven Foundation

Hanne Darboven
Ohne Titel
Monate mit Postkarten (Januar 1990)
, 1990

Hanne Darboven
Ohne Titel, Monate mit Postkarten (Januar 1990), 1990
Hanne Darboven Foundation

Hanne Darboven
Webstuhlarbeit
Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope
, 1996
10 lined note books, each with felt pen and 2 b/w photographs; 344 photo copies
10 DIN-A6 Hefte je 14. 8 × 10.5 cm;
334 Blätter à 29.7 × 21 cm
10 note books 5 7/8 × 4 1/8 inches each;
334 sheets 11 3/4 × 8 1/4 inches each
31.6 x 22.9 cm (if framed) (framed)
31.6 x 22.9 cm (if framed) (framed)

Hanne Darboven
Webstuhlarbeit, Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope, 1996
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Webstuhlarbeit
Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope
, 1996

Hanne Darboven
Webstuhlarbeit, Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope, 1996
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Webstuhlarbeit
Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope
, 1996 (detail)

Hanne Darboven
Webstuhlarbeit, Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope, 1996
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Webstuhlarbeit
Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope
, 1996 (detail)

Hanne Darboven
Webstuhlarbeit, Am Burgberg / meiner Mutter / meiner Kindheit / postum a higher knitting penelope, 1996
Hanne Darboven Foundation

Hanne Darboven
Bismarckzeit, 1978
Ink on transparent paper, offset print, bronze sculpture
917 sheets
each 42 × 29.7 cm
each 16 1/2 × 11 3/4 inches

Hanne Darboven
Bismarckzeit, 1978
Hanne Darboven Foundation

Hanne Darboven
Untitled (early construction drawings New York), 1966/67
Pencil on paper
71 × 71 cm
28 × 28 inches

Hanne Darboven
Untitled (early construction drawings New York), 1966/67
Hanne Darboven Foundation

Hanne Darboven
Untitled (early construction drawings, New York), 1966/67
Pencil and ballpoint on graph paper
44.8 × 56.6 cm
17 5/8 × 22 1/4 inches

Hanne Darboven
Untitled (early construction drawings, New York), 1966/67
Hanne Darboven Foundation

Hanne Darboven
Leben, leben (Life, living), 1998
2782 sheets: typewriter, ball pen, felt pen on paper; photography; 32 photographs; 2 doll's houses
2781 sheets: dimensions variable
32 photographs, 30 × 20 cm / 11 7/8 × 7 7/8 inches each
2 doll's houses

Hanne Darboven
Leben, leben (Life, living), 1998
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Leben, leben (Life, living), 1998

Hanne Darboven
Leben, leben (Life, living), 1998
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Leben, leben (Life, living), 1998

Hanne Darboven
Leben, leben (Life, living), 1998
Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
Leben, leben (Life, living), 1998 (detail)

Hanne Darboven
Leben, leben (Life, living), 1998
Details
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Current and Upcoming
Hanne Darboven Foundation
Hanne Darboven, Günther Förg, Sol LeWitt, installation view, Pinakothek der Moderne, Munich, November 30, 2019–July 31, 2021
Photo: Bayerische Staatsgemäldesammlung/Johannes Haslinger

Hanne Darboven, Günther Förg, Sol LeWitt
Pinakothek der Moderne, Munich
November 30, 2019–July 31, 2021

What does Hanne Darboven's suggestive gesture, which is beyond readability, show? What is the system behind Sol LeWitt's sculptures made of industrially manufactured material? What do Günther Förg's grid structures reveal? The combination of three high-contrast positions in a room of the Pinakothek der Moderne confronts the viewer with a series of questions. Humor plays a not inconsiderable role in this process; with all the proximity to logic, don't they push us to the limit of the absurd?

Link

MISFITTING TOGETHER
mumok – Museum moderner Kunst Stiftung Ludwig Wien, Vienna
July 1, 2020–January 6, 2021

The collection exhibition, MISFITTING TOGETHER. Serial Formations of Pop Art, Minimal Art, and Conceptual Art faces the challenge not only of situating Warhol in the field of Pop Art but also of painting a more nuanced picture of the times by including works of Minimal and Conceptual Art—both collection emphases of Peter and Irene Ludwig.

Link
Hanne Darboven Foundation
Larry Poons, Nixe’s Mate, 1961, mumok – Museum moderner Kunst Stiftung Ludwig Wien, Leihgabe der Österreichischen Ludwig-Stiftung, © Bildrecht Wien, 2020
Exhibitions at Sprüth Magers
Hanne Darboven Foundation

Hanne Darboven, Ruth Wolf-Rehfeldt
Zeichen der Zeit / Zeit der Zeichen
Sign of the Times / Times of the Sign
Hanne Darboven and Ruth Wolf-Rehfeldt
July 9–August 1, 2020
September 1–19, 2020
London

While Hanne Darboven and Ruth Wolf-Rehfeldt lived on different sides of the wall in a divided Germany and were unaware of each other’s practice, their juxtaposition in this show makes for a surprising dialogue—not only between their works, but also their exchanges among an international network of artists. The exhibition brings together works and material from the 1970s and early 1980s.

Hanne Darboven
Erdkunde und (Süd-) Koreanischer Kalender
September 12, 2019–February 26, 2020
Berlin

The exhibition Erdkunde I, II, III / Geography I, II, III (1986) and (Süd-) Koreanischer Kalender / (South) Korean Calendar (1991) marks the beginning of the gallery’s worldwide exclusive representation of the Darboven Estate. The Hamburg-born Conceptual artist is known for her serial writing pieces and date-based cross sum calculations hung as wall-spanning blocks of identically framed paper works.

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Hanne Darboven Foundation
Hanne Darboven Foundation

Hanne Darboven
September 9–October 29, 2016
Los Angeles

Hanne Darboven is recognised for her ambitious and idiosyncratic body of work that operates at the limits of representation. Sprüth Magers presents the first solo show of her work on the West Coast since 2010 – exhibiting three of her monumental installations that knit together mathematical procedure, historical and cultural artefact, and autobiographical documentation in an attempt to record subjective and objective perceptions of time via a conceptually coherent visual system.

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Press

Local Histories
Kunstforum, review by Roland Berg, April 2019

Hanne Darboven: Is Art at Its Best When You Can’t Take It In?
Artnet news, review by Blake Gopnik, March 2017

On longing: The art of Hanne Darboven
Artforum International, review by Bruce Hainley, February 2017

The Perils of Order, Taken to the Extreme
New York Times, review by Jason Farago, December 8, 2016

Hanne Darboven
Art Agenda, article by Jonathan Griffin, October 21, 2016

Hanne Darboven Sprüth Magers, Los Angeles, USA
Frieze, article by Travis Diehl, October 8, 2016

Critics: Hanne Darboven
Artforum, review by Honora Shea, September 2016

“Writing Calculations, Calculating Writing”: Hanne Darboven’s Computer Art
Grey Room, article by Victoria Salinger, Fall 2016

Biography

Hanne Darboven (1941–2009). Selected solo exhibitions include Kunsthalle Bern (1969), Westfälischer Kunstverein, Muenster (1971), Kunstmuseum Basel (1974), Deichtorhallen Hamburg (1991), Stedelijk Van Abbemuseum, Eindhoven and Musée d’Art moderne de la Ville de Paris (both 1986), Dia Center for the Arts, New York (1996), Staatsgalerie Stuttgart (1997), Hamburger Kunsthalle (1999 and 2006), and Deutsche Guggenheim, Berlin (2006), Museo Nacional Centro de Arte Reina Sofía, Madrid (2014), Bundeskunsthalle, Bonn and Haus der Kunst, Munich (both 2015), Deichtorhallen, Sammlung Falckenberg, Hamburg and Hamburger Bahnhof – Museum für Gegenwart, Berlin (both 2017). Selected group shows include documenta, Kassel (1972, 1977, 1982, 2002), Musée d’Art Moderne de la Ville de Paris (1970, 1981, 1989, 2000, 2006), Solomon R. Guggenheim Museum, New York (1971, 1983), Museum of Modern Art, New York (1976, 2005, 2006, 2007, 2009, 2014, 2017, 2018), National Museum of Art, Osaka (1989), National Gallery of Victoria, Melbourne (1991), The National Gallery of Art, Washington D.C. (1994), Museum of Contemporary Art, Los Angeles (1996), Haus der Kunst, Munich (1997, 2003, 2008), Museum für Moderne Kunst MMK, Frankfurt (2000, 2010), Centre Pompidou, Paris (2002), Hamburger Kunsthalle (2013, 2016), Kunstmuseum Basel (2014), ICA Miami (2017), Westbund Art Museum, Shanghai (2019) and Pinakothek der Moderne, Munich (2020). She represented the Federal Republic of Germany at the 1982 Venice Biennale (along with Gotthard Graubner and Wolfgang Laib).

https://www.hanne-darboven.org

Education
1962–65 Study at Hochschule für Bildende Künste (HfBK), Hamburg
Awards, Grants and Fellowships
1997 Member of Akademie der Künste, Berlin
1995 Internationaler Preis des Landes Baden-Württemberg für Bildende Kunst
1994 Lichtwark-Preis der Freien und Hansestadt Hamburg
1986 Edwin-Scharff-Preis der Freien und Hansestadt Hamburg
Public Collections
ARCO Foundation Collection, Madrid
Centre Pompidou, Paris
CODA Museum, Apeldoorn
Daimler Art Collection, Stuttgart
Dia: Beacon, Beacon, New York
Dia: Chelsea, New York
Frac Nord-Pas de Calais, Calais
Galerie für zeitgenössische Kunst, Leipzig
Glenstone, Potomac, MD
Hamburger Bahnhof - Museum für Gegenwart, Berlin
Hamburger Kunsthalle, Hamburg
Herbig Collection, Cologne
Judith Rothschild Foundation, New York
Kaiser Wilhelm Museum, Krefeld
Kunsthalle Bremen
Kunstmuseum Bonn
Kunstsammlung des Deutschen Bundestages, Berlin
Kupferstichkabinett, Berlin
Ludwig Forum für internationale Kunst, Aachen
Migros Museum für Gegenwartskunst, Zurich
Musée d’Art moderne de Saint-Etienne
Museo d’Arte Contemporanea Donna Regina - MADRE, Naples
Museion, Bolzano
Museum für Moderne Kunst Weserburg, Bremen
Museum Küppersmühle für Moderne Kunst, Duisburg
Museum für Moderne Kunst MMK, Frankfurt
Museum of Modern Art, New York
Museum of Contemporary Art, Los Angeles
National Museum of Art, Architecture and Design, Oslo
National Museum of Modern Art Tokyo
Onnasch Collection, Berlin
Rijksmuseum Kröller-Müller, Otterlo
Sammlung Crex, Zurich
Sammlung Falckenberg, Hamburg
Sammlung FER, Ulm
Sammlung Karl Ströher, Simmern / Hunsrueck
Sammlung Lothar Schirmer, Munich
Sammlung Markus Michalke, Munich
Sammlung Mia und Martin Visser, Bergeyk
San Francisco Museum of Modern Art
Schaulager, Basel
Solomon R. Guggenheim Foundation, New York
Städtisches Museum Abteiberg, Moenchengladbach
Stedeljik Museum, Amsterdam
Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent
Stiftung Helga und Walther Lauffs, Bad Honnef
Tate, London
The Schaufler Foundation - Schauwerk, Sindelfingen
Ydessa Hendeles Art Foundation, Toronto