new-york

Hanne Darvoben

Leo Castelli

Theodor W. Adorno has written that “dissonance . . . lets in the beguiling moment of sensuousness by transfiguring it into its antithesis, that is, pain. This is an aesthetic phenomenon of primal ambivalence. Dissonance [has become a] constant in modernism. This is so the immanent dynamic of autonomous works of art and the growing power of external reality over the subject converge in dissonance. . . . The hyper-modern response is to be wary of dissonance because of its proximity to consonance. . . . Dissonance thus congeals into an indifferent material feeling, with out an essence.”

Hanne Darboven’s most recent exhibition has shown her to be an exemplary hyper-Modernist by Adorno’s definition. In Darboven’s Ansichten 85, 1984–85, her familiar calendar scrip—in both senses of the term, as brief abstract text and as an abstract medium of exchange—and her “world-historical” photography form

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