Hartmut Böhm in Minimalism Germany 1960s, Daimler Contemporary, Haus Huth, Berlin, Germany

Charlotte Posenenske, Vierkantrohre Serie D, 1967
(Reconstruction 2009)

March 12 – May 30, 2010

The initial exhibition at Daimler Contemporary in 2010 will show major 1960s trends in German abstract art from the Daimler Art Collection: Constructivism, Zero, Minimal Art, Concept and Seriality. Starting with 1950s predecessors – such as Josef Albers, Norbert Kricke and Siegfried Cremer – the show considers abstract art developments in the cities of Frankfurt, Düsseldorf, Krefeld, Stuttgart, Berlin and Munich, but also looks at contiguous Swiss positions. About 60 works by 28 artists are being presented, all developing a specifically German Minimalism in the period from 1954 to 1974 in various media (sculpture, painting, film and drawing).

Participating Artists:
Karl Heinz Adler, Josef Albers, Joachim Albrecht, Peter Benkert, Hartmut Böhm, Siegfried Cremer, Hanne Darboven, Karl Gerstner, Imi Giese, Mathias Goeritz, Kuno Gonschior, Gerhard von Graevenitz, Hajo Hangen, Erwin Heerich, Gottfried Honegger, Norbert Kricke, Thomas Lenk, Heinz Mack, Karl Georg Pfahler, Verena Pfisterer, Charlotte Posenenske, Christian Roeckenschuss, Peter Roehr, Ulrich Rückriem, Eckhard Schene, Klaus Staudt, Franz Erhard Walther, Herbert Zangs

In the early sixties in Germany, a new kind of Minimalism developed that was initially largely independent from the developments in America at the time. This German Minimalism was in many cases stimulated by, but also in conflict with, Concrete Art and the European Zero avant-garde, which drew attention to it from 1957 on, starting in Düsseldorf, with unusually staged exhibitions and spectacular projects for public space. The steles, cubes, and picture objects produced by the Zero artists, which lay in the space or stood in front of the wall, represent a significant new step for German art in terms of quality around 1959/60. The Düsseldorf Kunstakademie played an important role in the transition to a specifically German Minimalism from 1962 until around 1970. In the sixties, it provided many of its students with a basis for examining minimalized sculpture. Among them, the young Franz Erhard Walther developed his first proto-Minimalist objects starting in 1962, followed in 1964/65 by Imi Knoebel, Imi Giese, and Blinky Palermo. At the same time, Hanne Darboven in Hamburg, Charlotte Posenenske in Offenbach and, outside academic contexts, Peter Roehr in Frankfurt conceived their first attempts at Minimalist works.

On the occasion of this pioneering exhibition there will be a three-day symposium on May 15 -17, 2010, held at Daimler Contemporary in Berlin. The publicly accessible symposium is inviting protagonists, important collectors, curators and active gallery owners of the time, academics, art critics and journalists, who will give insights in talks, panel discussions and specific lectures. By engaging experts from the respective genres the symposium aims to draw an encompassing picture of the minimalist movement in the field of music, literature, film and dance in Germany.