Hartmut Böhm in Minimalism in Germany, The Sixties II: Abstraction and Seriality, Zero, Concrete Tendencies and Sculpture as Action, Daimler Contemporary, Berlin, Germany

Work by Franz Erhard Walther

March 31 – September 9, 2012

Participating Artists:
Hartmut Böhm, Hanne Darboven, Hermann Glöckner, Mathias Goeritz, Charlotte Posenenske, Peter Roehr, Ulrich Rückriem, Eckhard Schene, Helmut Stromsky, Günther Uecker, Franz Erhard Walther

The Daimler Art Collection is pleased to announce the exhibition Minimalism in Germany. The Sixties II at Daimler Contemporary, Potsdamer Platz, in Berlin. The first exhibition in the Minimalism in Germany 1960s series in 2010 comprehensively showed major trends in reduced, abstract 1960s art in Germany from the Daimler Art Collection. The second part concentrates on a small number of protagonists who essentially represent a specifically German aspect of Minimalism as an international trend in the 1960s with large-scale works, serial picture objects, and action-oriented work concepts. The exhibition takes the example of striking protagonists, bringing together about 40 works to reflect on trends in Conceptual Art, Minimalism, and seriality, linked with the cities of Frankfurt, Düsseldorf, Hamburg, Stuttgart, and Berlin.

An independent form of Minimalism developed in the 1960s in Germany by addressing abstraction and Zero avant-garde, constructive and concrete tendencies. The accompanying publication (519 pages, Hatje Cantz) is devoted to selected reductionist works by German artists of the period, with about 100 works by roughly 40 artists, mainly from the Daimler Art Collection holdings. Essays on Minimalist tendencies in architecture, literature, film, and design in 1960s Germany develop a broader context over and above this. The catalogue is available at book shop Bücherbogen am Savignyplatz, Berlin; the exhibition space Daimler Contemporary, Berlin; or can be ordered online.