Charlotte Posenenske

Biography

°1930, Wiesbaden, DE +1985 Frankfurt am Main, DE
Lived and worked in Germany.

°1930, Wiesbaden, DE +1985 Frankfurt am Main, DE
Lived and worked in Germany.

2020

Charlotte Posenenske 'Work in Progress', Kunstsammlung Nordrhein-Westfalen-K20, GE
Groupshow 'Implicit Movement', Gallery Sofie Van de Velde, BE

2019

Work in Progress - Charlotte Posenenske, DIA:BEACON, NY
CONDO 2019 - Charlotte Posenenske, Modern Art, London
Work in Progress - Charlotte Posenenske, MACBA, ES

2017

Dasselbe anders (with Hanne Darboven),Konrad Fischer Galerie, Berlin, Germany

2016

Charlotte Posenenske, Take Ninagawa, Tokyo, Japan

2015

Charlotte Posenenske X Saâdane Afif, Charlotte Posenenske X Gerold Miller, Charlotte Posenenske X Gerwald Rockenschaub, Charlotte Posenenske X Luca Trevisani, Mehdi Chouakri, Berlin, Germany
Charlotte Posenenske (with Peter Roehr), The Chinati Foundation, Marfa, United States
Charlotte Posenenske, MUHKA Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium

2014

Aufhören ; Weitermachen | Charlotte Posenenske (1930-1985), Deutscher Künstlerbund e.V., Berlin, Germany
Charlotte Posenenske. Early works, Peter Freeman, Inc., New York, United States

2013

Line and Space, Mehdi Chouakri, Berlin, Germany

2012

Dasselbe anders, Düsseldorf, K21, Düsseldorf, DE Dasselbe anders/Immer dasselbe
Charlotte Posenenske und Peter Roehr, Kunsthaus Wiesbaden, DE

2011

Le même autrement-The same, but different, Galerie Nelson-Freeman, Paris, FR
Charlotte Posenenske, John Hansard Gallery, Southampton, GB
Charlotte Posenenske. Vierkantrohre, Reliefs, Faltungen und Arbeiten auf Papier, Konrad Fischer Galerie, Düsseldorf, DE

2010

Charlotte Posenenske / Peter Roehr, Haus Konstruktiv, Zürich, CH
Charlotte Posenenske, Artists Space, New York, US

2008

Peter Freeman, Inc., New York, US
Charlotte Posenenske - Werke unter freiem Himmel, Galerie Mehdi Chouakri, Berlin, DE

2007

Charlotte Posenenske, Galerie Mehdi Chouakri, Berlin, DE Charlotte Posenenske, Between Bridges, London, GB

2005

Galerie im Taxispalais, Innsbruck, AU
Charlotte Posenenske - Retrospektive, Museum für Gegenwartskunst, Siegen, DE

2003

Galerie Konstantin Adamopoulos, Frankfurt am Main, DE

1999

Galerie ak, Programm Konstantin Adamopoulos, Frankfurt am Main, DE

1990

Museum für Moderne Kunst (at the Jahrhunderthalle Hoechst), Frankfurt am Main, DE

1989

Garage of the City Hall, Stuttgart; Rotunda of the Neue Staatsgalerie, Stuttgart
Central Station, Stuttgart (curator Werner Esser), DE
Headquarter of the Deutsche Bank, Frankfurt am Main; Central Station, Frankfurt am Main, DE

1988

Central Market, Frankfurt am Main, DE

1986

Galerie Paul Maenz, Cologne, DE
Main airplane hangar, Lufthansa Airlines, Frankfurt am Main, DE Galerie Grässlin-Ehrhardt, Frankfurt am Main, DE

1968

Galerie Art & Project, Amsterdam, NL Galerie Dorothea Loehr, Frankfurt am Main, DE

1967

Konrad Fischer Galerie, Düsseldorf, DE Kleine Galerie, Schwenningen, DE
Galerie Sous-Sol, Giessen, DE
Galerie h, Hanover, DE

1966

Galerie Dorothea Loehr, Frankfurt am Main, DE 1961 Galerie Dorothea Loehr, Frankfurt am Main, DE

Group exhibitions

2020

L'heure bleue, Gallery Sofie Van de Velde & PLUS-ONE Gallery, Antwerp, BE

2017

Backstage, die Rückseite, the rearside, Galllery Sofie Van de Velde, Antwerp, Belgium
Die Revolution ist tot. Lang lebe die Revolution! Von Malewitsch bis Judd, von Deineka bis Bartana, Zentrum Paul Klee, Bern, Switzerland
Jan van Eyck Academie, Maastricht, The Netherlands
Dimensões Variáveis, MAAT Museu Arte Arquitetura Tecnologia, Lisboa, Portugal

2016

From Nature to Abstraction, Gallery Sofie van de Velde, Antwerp, Belgium
Mixed Media (II) About Abstraction, Kicken Berlin, Berlin, Germany
Illumination, Louisiana Museum of Modern Art, Humlebæk, Denmark

2015

Vierkante Buizen Reeks DW, M KHA Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium
That‘s All, G262 Sofie van de Velde, Antwerp, Belgium
Geometric Abstractions, G262 Sofie van de Velde, Antwerp, Belgium

2014

Play Objects - The Art of Possibilities, Museum Tinguely, Basel, CH Pliage/Fold, Galerie Gagosian, Paris, FR

2013

D'Hollander, Posenenske, Warboys, paintings, Konrad Fischer Galerie, Düsseldorf, DE
The Other Space: Miriam Böhm, Charlotte Posenenske, James Turrell, Wentrup Gallery, Berlin, DE A Stone left unturned, Galerie Yvon Lambert, Paris, FR

2012

Minimalism in Germany. The Sixties II, Daimler Contemporary, Berlin, DE Art and the City, Zürich, CH
Sylvie Fleury et Charlotte Posenenske, Mehdi Chouakri, Paris, FR
Sao Paulo Biennial, Sao Paulo, BR

2011

12th Istanbul Biennial, Istanbul, TR
MMK 1991-2011, Twenty Years of Presence, MMK Museum für Moderne Kunst, Frankfurt am Main, DE

2010

Pergola, Palais de Tokyo, Paris, FR
Minimalism and Applied II, Daimler Contemporary, Berlin, DE
Radical Conceptual, MMK Museum für Moderne Kunst, Frankfurt am Main, DE Charlotte Posenenske, White Columns, New York, US

2009

In & Out of Amsterdam: Travels in Conceptual Art, 1960–1976, Museum of Modern Art, New York, US Just what is it ..., ZKM, Karlsruhe, DE
Chasing Napoleon, Palais de Tokyo, Paris, FR
The Knight’s Tour / Lunar Distance, De Hallen, Haarlem, NL

  1. Die Große Unschuld, Kunsthalle Bielefeld, DE
    Yellow and Green, MMK Museum für Moderne Kunst, Frankfurt am Main, DE
2008

Zuordnungsprobleme, Johann König, Berlin, DE Classical: Modern II, Daimler Contemporary, Berlin, DE
Art Forum Berlin 2008, DE
Revolutions 1968, Zacheta National Gallery, Warschau, PL Peripherer Blick und kollektiver Körper, Museion, Bozen, CH

2007

Documenta 12, Kassel, DE

2006

Conversation with Art, on Art, Tokyo Opera City Art Gallery, Tokyo, JP

2005

25 Jahre Sammlung Deutsche Bank, Deutsche Guggenheim - Berlin, DE

2004

Kurze Karrieren, Museum Moderner Kunst, Stiftung Ludwig, Vienna, AUT DaimlerChrysler Collection, South African National Gallery, Kapstadt, ZA DaimlerChrysler Collection for South Africa, Pretoria Art Museum, ZA DaimlerChrysler Collection for South Africa Museum Africa, Johannesburg, ZA Dependent Objects, Busch-Reisinger Museum, Harvard, Boston, US

2003

On the Edge, Detroit Institute of Arts, Detroit, US The DaimlerChrysler Collection, ZKM, Karlsruhe, DE Minimalism and After II, Daimler Contemporary, Berlin, DE

2002

Minimalism and After II, Daimler Contemporary, Berlin, DE
Die Gewalt ist der Rand aller Dinge. Subjektverhältnisse, politische Militanz und künstlerische Vorgehensweisen, Generali Foundation, Vienna, AUT

2001

Frankfurter Kreuz. Transformationen des Alltäglichen in der zeitgenössischen Kunst, Schirn Kunsthalle, Frankfurt am Main, DE

1972

Galerie Art & Project, Amsterdam

1969

Galerie plus-kern, Gent, DE

1968

Galerie Dorothea Loehr, Frankfurt am Main, DE
Public eye, Kunsthaus Hamburg, DE
Galerie Rene Block, Berlin, DE
Deutscher Künstlerbund ‘68, Kunsthalle Nürnberg, Nuremberg, DE

1967

Galerie Jülicher, Mönchengladbach, DE
Galerie Hauptstrasse 1, Gelsenkirchen, DE
Dies Alles, Herzchen, wird einmal dir gehören, Galerie Dorothea Loehr, Frankfurt am Main, DE Serielle Formationen, Studiogalerie, Johann Wolfgang Goethe Universität, Frankfurt am Main, DE Landesmuseum Wiesbaden, DE

L'heure bleue, Gallery Sofie Van de Velde & PLUS-ONE Gallery, Antwerp, BE

1966

Marielies-Hess-Stiftung, Hessischer Rundfunk, Frankfurt am Main, DE

1961

Junger Westen, Städtische Kunsthalle Recklinghausen, DE

1959

Vibration, Galerie Weiss, Kassel, DE

Bibliography

www.flipsnack.com/SofieVandevelde/van-natuur-tot-abstract.html

Artworks

Charlotte Posenenske
Series B Relief, n.d.
Aluminium, convexly curved & concavely canted, sprayed standard RAL matt black
100 x 50 x 14 cm

Charlotte Posenesnke
Series B Relief, n.d.
Aluminium, concavely angled, convexly angled, sprayed standard RAL matt black
2x (100 x 50 x 14 cm)

Charlotte Posenenske
Series B Relief, Aluminium, concavely and convexly curved, sprayed standard RAL matt red, 100 x 50 x 14 cm

Charlotte Posenenske
Series B Relief, n.d.
Aluminium, concavely curved and convexly angled with a short and long side, sprayed standard RAL matt red
2 x (100 x 50 x 14 cm)

Charlotte Posenenske
Series B Relief, n.d.
Aluminium, concavely canted, sprayed standard RAL matt blue
100 x 50 x 14 cm

Charlotte Posenenske
Series B Relief, n.d.
Aluminium, convexly and concavely curved, sprayed standard RAL matt blue
100 x 50 x 14 cm

Charlotte Posenenske
Series B Relief, n.d., Aluminium, convexly angled, sprayed standard RAL matt yellow,
40 x 40 x 125 cm

Charlotte Posenenske
Series B Relief, n.d., Aluminium, convexly angled, sprayed standard RAL matt yellow, 40 x 40 x 125 cm

Charlotte Posenenske
Vierkantrohre Serie D (CP-D-Verzweigung - 019), 1967 - 2016
T-piece (ramification) Hot-dip galvanised sheet steel, screws, 50 x 66 x 58 cm

Charlotte Posenenske
Series DW Vierkantrohre, n.d., Corrugated cardboard

Charlotte Posenenske
Series DW, n.d., corrugated cardboard, dimensions variable

Charlotte Posenenske
Series D, n.d., Hot-dip galvanised sheet steel, dimensions variable

Charlotte Posenenske
Series D, n.d., Hot-dip galvanised sheet steel, dimensions variable

Charlotte Posenenske
Series D, n.d., Hot-dip galvanised sheet steel, dimensions variable

Charlotte Posenenske
Serie D, n.d., Hot-dip galvanised sheet steel, dimenions variable

Charlotte Posenenske
Series D, n.d., Hot-dip galvanised sheet steel, dimensions variable

Charlotte Posenenske
Palette-knife work (Taununs Landscape), ca. 1961
Acrylic on paper
42 x 56 cm

Charlotte Posenenske
palette knife work, n.d.
casein print on paper
46 x 62 cm

Charlotte Posenenske
CP 192, n.d., Palette-knife work, acrylic or casein paint on paper, 36 x 48 cm cm

Charlotte Posenenske
CP 119, n.d., Palette-knife work, casein paint on paper, 29,5 x 40 cm

News

L'heure bleue: group exhibition

09.06.2020–30.08.2020 Gallery Sofie Van de Velde and PLUS - ONE Gallery present ‘L’Heure Bleue’. L’heure bleue is the moment when the sun has set, but the night has not fallen yet. The phenomenon of the blue hour happens right b… Continue reading

Press

2019

The social dimension in Charlotte Posenenske’s art

Charlotte Posenenske’s (1930–1985) concept of participation which envisages to engage others – the curators, the collectors, the audience – in the production of the artwork is the ultimate expression of the attempt to make her art accessible. Thus she places herself knowingly in the tradition of the Russian Constructivists of the 20th, especially of El Lissitzky who postulated to make the advanced art understandable by geometry. „The geometric shape is unambiguous i.e. immediately recognizable for all.“

All objects of the artist are stereometrically constructed, after she had given up the subjectivistic manner of informell painting at the end of the 50th. Like El Lissitzky she wanted to connect her art to the objective parameters of technology and architecture by elementarisation and standardisation. El Lissitzky postulated: „Art and technology a new unity.“
Not only geometry and participation are aspects of the accessibility but also the gap of 32 cm in the installation of the steel tubes exhibited in the avantgarde gallery art & project at Amsterdam in 1967. You could walk across the artwork – which was very unusual at that time, compared with the traditional way to contemplate an artwork from outside.

The revolving vanes constructed a bit later are cubes and prisms higher than mansize which you enter by moving the vanes of doorsize. They are transitrooms. At the opening of the first exhibition in the gallery Dorothea Loehr, Frankfurt/M 1967, the galerist, a slim lady in a white suit stepped out of the object that was closed before reading a text. Later young kissing couples and hide-and-seek playing children stayed within the artrwork.

The last object realized only after the artist’s death consistrs in two oversized mobile walls which form a cube in front of a corner when closed.Thus the artwork is integrated in the architecture. In the small, square cabinet you may sit at a little table, drink tea or read a book. Thus the artist had arrived – like El Lissitzky – at architecture in which we live and work. „Architecture – this is art on the highest level.“ The former spectator had become a collaborater who was involved not only mentally but physically as well. The spectator of art doesn’t stand any more in front of the artwork but is situated inside.

Consequently the artist didn’t hesitate to make her art usable, i.e. to transgress the traditional border between art and every day life. Again it was El Lissitzky whom she followed. As a consequence of this the public often took the steel tubes for a ventilation pipe. But the last step – from art to design – she didn’t take: the usability of her artwork is restricted, you can only stay inside. Charlotte Posenenske – in contrast to what the constructivists demanded – remained on the base of art. She didn’t realize the usability effectively (by design), but prefered the allusion. She had arrived at the border of art. Then she gave up art – the art szene was puzzled. She had ended her way from painting to architecture. Regarding her rather small oeuvre, completed in the shortest time, you may come to the conclusion: she had finished her oeuvre which forms a rather consistent whole.

Always and again Charlotte Posenenske has been misunderstood as a political artist. The social dimension of her art is confined in making it more accessible. Her art is political only in so far as she tried to make her art more democratic by partizipation and keeping the prizes as low as possible.