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Sign of the Times/Times of the Sign
Hanne Darboven and Ruth Wolf-Rehfeldt, installation view, "Sign of the Times / Times of the Sign" at Sprüth Magers; © Hanne Darboven Stiftung, Hamburg VG Bild-Kunst, Bonn 2020, photo by Ben Westoby, courtesy of Sprüth Magers and ChertLüdde.

Sign of the Times/Times of the Sign

Katy Donoghue

18 September 2020

Sprüth Magers presents “Signs of the Times/Times of the Signs,” a juxtaposition of artists Hanne Darboven and Ruth Wolf-Rehfeldt’s work. While Wolf-Rehfeldt pursued her artistic activities as an autodidact in East Berlin in the days of a divided Germany, Darboven grew up in the western part of the country. Though active at the same time, both artists never met as they lived on opposite sides of the Wall in post-war divided Germany. Nevertheless, parallels appear, not only in terms of output, but also with regard to their letters and exchanges with international artists networks. 

“Sign of the Times/Times of the Sign” is the first exhibition to place both artists in dialogue some 30 years after the German reunification. Though centred on works from the 1970s and 80s, the exhibition also includes material from Darboven’s extensive correspondence and Wolf-Rehfeldt’s Mail Art contributions.

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Named for Abraham Cruzvillegas's essay reminding us that everything is subject to evolution, "The Willfulness of Objects" features a series of works from The Bass's collection.
The collection of Judy Glickman Lauder at the Norton Museum of Art lends itself to a sweeping narrative of 20th-century photography.
In Green’s debut solo show at AND NOW, viewers will be taken on a journey through the subconscious.

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