Hanne Darboven (Munich, 1941 – Ronneburg, 2009) was the second of three daughters who grew up in the wealthy and cosmopolitan atmosphere of a family of entrepreneurs. While studying Fine Arts she moved to New York for two years (1966–68), and her work developed in the context of Conceptual and Minimal art, though full of biographical insights.
Her work is represented in major contemporary art collections (MoMA, Tate Modern, Centre Pompidou, among others). In 1985 she received the Edwin-Scharff-Preis from the city of Hamburg; in 1994, the Lichtwark-Preis; and in 1997 became Member of the Academy of Arts of Berlin.
The concern for capturing time in abstract forms (for instance, biographical time in the form of calendars) led to the creation of a writing system based on repetition, sequence and system. Sometimes she uses simple sequence systems; at others she includes complex variations: ‘My systems are numeric concepts that work according to the laws of progression and/or reduction in the manner of a musical theme with variations.’ Her works evolved from conceptual writing series to more complex ways of representation in which she included elements of collage and assemblage, and a growing presence of literal literary quotations (or literary quotes reduced to mathematical patterns), together with references to grand historical narratives and biographical aspects. Establishing a relationship between drawing, writing and musical notation, since 1980 her numerical series became scores, assigning notes to the numbers in the series of rows and columns, leading to self-referential patterns. The Hanne Darboven Stiftung, created by the artist in 2000, promotes her work within the frame of Conceptual art and her influence in the twentieth and twenty-first centuries, as a leading figure in German art since the Second World War.
The information regarding participants is taken from a file which has not been updated since the completion date of each project.