Serielle Formationen. 1967/2017

Re-staging of the first German exhibition of international tendencies in Minimalism

until November 5th 2017
Daimler Contemporary Berlin

The exhibition ‘Serielle Formationen’ (‘Serial Formations’), jointly curated by Peter Roehr and Paul Maenz for the Frankfurter Universität’s studio gallery in 1967, can be seen as the first thematic exhibition on Minimalist trends in Germany. In the context of its exhibition series ‘Minimalism in Germany’, which started in 2005, the Daimler Art Collection is making a first attempt to re-stage the historical presentation.

‘Serielle Formationen’ was an outstanding exhibition that brought together the contemporary trends of the period. In particular, it showed artwork by artists from Germany and elsewhere side by side. A total of 62 artworks by 48 artists were selected because they were pictures and objects with ‘serial order’ as a visual feature—although the concepts behind them were highly diverse and sometimes downright contradictory. The European Zero movement was represented, alongside manifestations of Nouveau Réalisme, Pop Art and Op Art and American Minimal and Conceptual Art. The exhibition was accompanied by an ambitious catalogue containing six original graphical works and extensive artwork documentation and artist statements. “The ambition of ‘Serielle Formationen’ was to inform and to identify the differences between seemingly similar art phenomena.” (Maenz)

The exhibition presents works from the Daimler Art Collection as well as loans from German and international collections.

Participating artists
Carl Andre (USA), Arman (F/USA), Thomas Bayrle (D), Ronald Bladen (CAN), Hans Breder (D/USA), Enrico Castellani (I), Christo und Jeanne-Claude (BG/USA and F/USA), Jan Dibbets (NL), May Fasnacht (D), Eberhard Fiebig (D), Dan Flavin (USA), Raimund Girke (D), Hermann Goepfert (D), Kuno Gonschior (D), Hans Haacke (D), Jan Henderikse (NL), Ewerdt Hilgemann (D), Bernhard Höke (D), Donald Judd (USA), Jiří Kolář (CZ), Yayoi Kusama (JP), Walter Leblanc (BEL), Thomas Lenk (D), Sol LeWitt (USA), Konrad Lueg (D), Adolf Luther (D), Piero Manzoni (I), Agnes Martin (CAN/USA), Almir da Silva Mavignier (BR), Henk Peeters (NL), Larry Poons (JP/USA), Charlotte Posenenske (D), Markus Raetz (CH), Bridget Riley (GB), Peter Roehr (D), Dieter Roth (CH), Felix Schlenker (D), Wolfgang Schmidt (D), Jan Schoonhoven (NL), Klaus Staudt (D), Michael Steiner (USA), Frank Stella (USA), Paul Talman (CH), Günther Uecker (D), Victor Vasarely (HU), Herman de Vries (NL), Andy Warhol (USA), gruppe x (D)

Further works from the Daimler Art Collection related to serial formations by:
Karl-Heinz Adler (D), Hartmut Böhm (D), Hal Busse (D), Hanne Darboven (D), Rolf Glasmeier (D), Hermann Glöckner (D), Mathias Goeritz (D), Gerhard von Graevenitz (D), Marie-Luise Heller (D), Hans-Peter Hoch (D), Oskar Holweck (D), Heinz Mack (D), Christian Megert (CH), Christian Roeckenschuss (D), Eckhard Schene (D), Mike Steiner (D) (Loan), Franz Erhard Walther (D)


Curator 2017: Renate Wiehager
Curators 1967: Paul Maenz and Peter Roehr




  • Karl-Heinz Adler
  • Hans Breder
  • Hal Busse
  • Enrico Castellani
  • Christo
  • Hanne Darboven
  • Karl Gerstner
  • Raimund Girke
  • Rolf Glasmeier
  • Hermann Glöckner
  • Hermann Goepfert
  • Kuno Gonschior
  • Marie-Luise Heller
  • Jan Henderikse
  • Hans Peter Hoch
  • Donald Judd
  • Sol LeWitt
  • Thomas Lenk
  • Heinz Mack
  • Almir da Silva Mavignier
  • Christian Megert
  • Henk Peeters
  • Charlotte Posenenske
  • Bridget Riley
  • Christian Roeckenschuss
  • Peter Roehr
  • Dieter Roth
  • Eckhard Schene
  • Jan J. Schoonhoven
  • Klaus Staudt
  • Frank Stella
  • Günther Uecker
  • Victor Vasarely
  • Franz Erhard Walther
  • Andy Warhol
  • Herman de Vries
  • Gerhard von Graevenitz


  • Sunday July 23rd 2017
    Daimler Contemporary Berlin
    All this, darling, will once belong to the canon of art history... (in English)
    Busse, group x, Heller, Posenenske, Roehr, Schmidt
    In addition to artists such as Arman, Sol LeWitt or Andy Warhol who are part of the ‘canon’ today, the current exhibition in the Daimler Contemporary also presents works by artists who are in the process of being ›rediscovered‹ by art historians. They include Hal Busse, the members of group x, Bernhard Höke, Wolfgang Schmidt or Michael Steiner, whose works were either on show in the historic ›Serielle Formationen‹ exhibition or are part of the same artistic environment. The tour follows the traces of these relatively ›unknown‹ artists on the basis of selected works in the current exhibition.
  • Saturday August 5th 2017
    Daimler Contemporary Berlin
    Serial Formations and their various implications (in English)
    Andre, LeWitt, Posenenske, Roehr
    This tour presents important trends in abstract art in the 1960s and examines the origin and development of ZERO, Minimal and Concept Art. Although the works have in common a ‘serial order’ as a visual feature, the concepts behind them are highly diverse and sometimes completely contradictory. The tour focuses on different approaches to aesthetic, ideological and historical questions.
  • Saturday August 26th 2017
    Daimler Contemporary Berlin
    The banality and symbolism of material (in English)
    Breder, Goepfert, Hilgemann, Judd, LeWitt, Posenenske, Uecker
    Visitors to exhibitions in the 1960s were confronted with new materials such as perspex, aluminum, plywood, PVC film, steel, automotive paint, cardboard, cotton fabrics and rough-cut stone slabs. Thus, the demand for de-individualization, objectification and democratization is often formulated on the material level with a shock effect. Ideologically biased materials and techniques - pedestals, cast bronze, canvas, frames - were replaced by mass-produced goods. The tour attempts to uncover various symbolic implications of the new materials.

  • Saturday September 16th 2017
    Daimler Contemporary Berlin
    The politicization of the serial in the visual art of the 1960s (in English)
    Bayrle, group x, Höke, Posenenske, Roehr
    Seriality is not only an analytical structural feature of Minimal Art. As a strategy aimed at anonymization and de-individualization, it was and still is a form of aesthetic and political appropriation of the world. Via seriality, artists in the 1960s attempted – often with reference to Roland Barthes’ ›Death of the Author‹ – to demystify the role of the author and bring about the democratization of art. This interrelationship between art and life is clearly demonstrated within the context of the exhibitions staged at Frankfurt University’s Studio Galerie, which is under the directorship of Siegfried Bartels. It was directly involved in the student protest movement in Frankfurt and the subject of articles in Diskus, a student magazine that is still published today. Examining both the artistic and cultural scene in Frankfurt at the time and international trends, the tour investigates artistic standpoints in the current exhibition in which serial formations were applied as possible strategies for the politicization of art.




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