london

Hanne Darboven, 24 Gesänge opus 14, 15 a, b (detail), 1984, felt-tip pen on paper, postcards, greeting cards, sound, dimensions variable.

Hanne Darboven

Camden Arts Centre

Hanne Darboven, 24 Gesänge opus 14, 15 a, b (detail), 1984, felt-tip pen on paper, postcards, greeting cards, sound, dimensions variable.

German Conceptual artist Hanne Darboven offers an intriguing combination of cool Minimalism and curio-shop chic. Beginning in the mid-1960s, her “daily writing” took the form of journals, letters, and jotted numbers, dates, and doodles that she arranged into a series of grids and store-bought day planners, organized via basic systems of calculation: 9 x 11 = 99 is the title of one major work on view here, from 1972. The walls of three rooms at the Camden Arts Centre were covered with framed sheets of paper containing the handwritten dates, numerical systems, and serial inscriptions typical of Darboven’s work. The exhibition took place against a similarly repetitive musical sound track played on loop throughout the space, the somber organ music she composed for the work 24 Gesänge opus 14, 15, a, b, 1984, using her own coded date-number-note system. Striking a deliciously discordant

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