PRINT April 1983


THE CURRENT RENUNCIATION OF INTELLECT in favor of sensuousness in art abbreviates the deeper motives and consequences of the artistic achievements of the past decade, and, at least in its most extreme form, shortchanges the individual human being. The artistic development of Hanne Darboven may provide an exemplary counter-argument against this trend. At the start the assertion can be made that Darboven’s outwardly sober analyses and the extreme restriction of means in her work profoundly touch the viewer’s sensorium. Just why this is so requires no lengthy explanation: in a very individual way, Darboven’s investigations touch the central questions that have always concerned thinking people. At issue is the struggle of the individual and of the human community with life, with its changes and continuities in time. For Darboven, time is a basically intangible measure for the totality of the

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