Cycle and Citation: What Hanne Darboven Calls Thinking*.
This article analyzes the significance of cyclical forms in the art of Hanne Darboven by reexamining the place of Constructivism and capitalism in her work. It tracks the lasting importance of El Lissitzky for her understanding of the relation between art and mathematics, revealing how Darboven borr...
| Publicado en: | October no. 187; pp. 27 - 63 |
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| Formato: | Artículo |
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MIT Press
Winter2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=176756557&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 176756557 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01622870 OCT jtl: October issn: 01622870 maglogo: N pubinfo: dt: Winter2024 iid: 187 pid: 776 pub: MIT Press artinfo: ui: 176756557 10.1162/octo_a_00507 ppf: 27 ppct: 36 formats: fmt: @attributes: type: P size: 105.8MB tig: atl: Cycle and Citation: What Hanne Darboven Calls Thinking*. aug: au: Stewart, William su: Darboven, Hanne Constructivism (Art) Lissitzky, El, 1890-1941 Art & mathematics Capitalism in art Gesture in art Lichtenberg, Georg Christoph, 1742-1799 Oscillations Bibliographical citations sug: subj: Darboven, Hanne Constructivism (Art) Lissitzky, El, 1890-1941 Art & mathematics Capitalism in art Gesture in art Lichtenberg, Georg Christoph, 1742-1799 Oscillations Bibliographical citations ab: This article analyzes the significance of cyclical forms in the art of Hanne Darboven by reexamining the place of Constructivism and capitalism in her work. It tracks the lasting importance of El Lissitzky for her understanding of the relation between art and mathematics, revealing how Darboven borrowed from Lissitzky a particular interest in oscillatory dynamics. Further, it establishes the influence on Darboven's artistic practice of Georg Christoph Lichtenberg, particularly his method of note-taking—derived from accountants' ledgers—called sudeln. While sudeln works exhibit the oscillatory dynamics described by Lissitzky, they also offers a language for the vast array of citations that Darboven inscribed in her art. The concept of sudeln thus provides a framework for understanding the self-organizing and autopoietic operations that underwrite the paper machines of Darboven's practice. The article concludes by locating this same cyclical, oscillatory form in the most fundamental and abstract of Darboven's gestures, the wavy script that she called Schriftschwünge. In doing so, the article discovers an unexpected emergence of the biographical in Darboven's artworks, notebooks, and letters, in contrast to the anonymous and depersonalized aesthetic with which she is often associated. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of October is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: October holder: MIT Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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