00-99 Ein Jahrhundert I-XII, eins plus eins ist einszwei zwei ist einszwei e.t.c.
Hanne Darboven
1976
00-99 Ein Jahrhundert I-XII, eins plus eins ist einszwei zwei ist einszwei e.t.c.
00-99 Ein Jahrhundert I-XII, eins plus eins ist einszwei zwei ist einszwei e.t.c.
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With an instructional title translated as “A Century I–XII, One Plus One Is One-Two, Two Is One-Two, etc.”, Hanne Darboven introduces readers to her idiosyncratic system for structuring time.   The twentieth century is presented ...
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00-99 Ein Jahrhundert I-XII, eins plus eins ist einszwei zwei ist einszwei e.t.c.
Hanne Darboven
1976
Hamburg: Self-published
404 pages
20.8 × 14.8 cm
Edition of 200

With an instructional title translated as “A Century I–XII, One Plus One Is One-Two, Two Is One-Two, etc.”, Hanne Darboven introduces readers to her idiosyncratic system for structuring time.


 


The twentieth century is presented within a system reminiscent of medieval scriptoria, a kind of book of debts unfolding across 400 pages as a rigorous sequence of number-based paragraphs. Rather than using numerals, the artist renders each year in its German written form. Printed notations in the margins record seemingly random dates from across the century. In creating the project, Darboven worked with a number of typists, who are credited in the colophon at the beginning of the book.


 


In his essay accompanying the artist’s retrospective Enlightenment – Time History (Haus der Kunst, Munich, 2015), writer and curator Okwui Enwezor argues that Darboven’s archival practice is not simply a repository of information, but a structure through which historical consciousness is shaped. As in this early artist’s book, her intricate calendars offer a new understanding of memory, one that is at once mystifying and deeply methodical.

Hamburg: Self-published
404 pages
20.8 × 14.8 cm
Edition of 200

With an instructional title translated as “A Century I–XII, One Plus One Is One-Two, Two Is One-Two, etc.”, Hanne Darboven introduces readers to her idiosyncratic system for structuring time.

 

The twentieth century is presented within a system reminiscent of medieval scriptoria, a kind of book of debts unfolding across 400 pages as a rigorous sequence of number-based paragraphs. Rather than using numerals, the artist renders each year in its German written form. Printed notations in the margins record seemingly random dates from across the century. In creating the project, Darboven worked with a number of typists, who are credited in the colophon at the beginning of the book.

 

In his essay accompanying the artist’s retrospective Enlightenment – Time History (Haus der Kunst, Munich, 2015), writer and curator Okwui Enwezor argues that Darboven’s archival practice is not simply a repository of information, but a structure through which historical consciousness is shaped. As in this early artist’s book, her intricate calendars offer a new understanding of memory, one that is at once mystifying and deeply methodical.

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With an instructional title translated as “A Century I–XII, One Plus One Is One-Two, Two Is One-Two, etc.”, Hanne Darboven introduces readers to her idiosyncratic system for structuring time.

 

The twentieth century is presented within a system reminiscent of medieval scriptoria, a kind of book of debts unfolding across 400 pages as a rigorous sequence of number-based paragraphs. Rather than using numerals, the artist renders each year in its German written form. Printed notations in the margins record seemingly random dates from across the century. In creating the project, Darboven worked with a number of typists, who are credited in the colophon at the beginning of the book.

 

In his essay accompanying the artist’s retrospective Enlightenment – Time History (Haus der Kunst, Munich, 2015), writer and curator Okwui Enwezor argues that Darboven’s archival practice is not simply a repository of information, but a structure through which historical consciousness is shaped. As in this early artist’s book, her intricate calendars offer a new understanding of memory, one that is at once mystifying and deeply methodical.

Hamburg: Self-published
404 pages
20.8 × 14.8 cm
Edition of 200

With an instructional title translated as “A Century I–XII, One Plus One Is One-Two, Two Is One-Two, etc.”, Hanne Darboven introduces readers to her idiosyncratic system for structuring time.

 

The twentieth century is presented within a system reminiscent of medieval scriptoria, a kind of book of debts unfolding across 400 pages as a rigorous sequence of number-based paragraphs. Rather than using numerals, the artist renders each year in its German written form. Printed notations in the margins record seemingly random dates from across the century. In creating the project, Darboven worked with a number of typists, who are credited in the colophon at the beginning of the book.

 

In his essay accompanying the artist’s retrospective Enlightenment – Time History (Haus der Kunst, Munich, 2015), writer and curator Okwui Enwezor argues that Darboven’s archival practice is not simply a repository of information, but a structure through which historical consciousness is shaped. As in this early artist’s book, her intricate calendars offer a new understanding of memory, one that is at once mystifying and deeply methodical.

MORE BOOKS

With an instructional title translated as “A Century I–XII, One Plus One Is One-Two, Two Is One-Two, etc.”, Hanne Darboven introduces readers to her idiosyncratic system for structuring time.

 

The twentieth century is presented within a system reminiscent of medieval scriptoria, a kind of book of debts unfolding across 400 pages as a rigorous sequence of number-based paragraphs. Rather than using numerals, the artist renders each year in its German written form. Printed notations in the margins record seemingly random dates from across the century. In creating the project, Darboven worked with a number of typists, who are credited in the colophon at the beginning of the book.

 

In his essay accompanying the artist’s retrospective Enlightenment – Time History (Haus der Kunst, Munich, 2015), writer and curator Okwui Enwezor argues that Darboven’s archival practice is not simply a repository of information, but a structure through which historical consciousness is shaped. As in this early artist’s book, her intricate calendars offer a new understanding of memory, one that is at once mystifying and deeply methodical.

MORE BOOKS