Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978

EXHIBITION 30.04 – 25.07.10

"Je déteste le decor." (Herman Daled)

The Brussels-based collectors Herman Daled and Nicole Daled refuse to perceive art as decoration and to, thereby, exploit it. They approach art in a fundamentally different way: Basis for their activities are their relationships and conversations with artists. 

In keeping with the aim of Conceptual Art that places the intellectual content of a work above its realisation, they consider themselves not collectors but communicators and producers: They provide artists with the opportunity to also realise works outside of established market mechanisms. Their intense engagement with Conceptual Art, one of the most important movements in recent art history, goes far beyond usual collecting practices. This is not only apparent in the actual works, but also in the meticulously archived documents containing actions and works. 

One of the most important influences for Herman and Nicole Daled was Marcel Broodthaers; more than 80 of his works are in their collection. Moreover, the collection holds several works by Daniel Buren, Dan Graham, On Kawara, Sol Lewitt, Niele Toroni, Lawrence Weiner, Cy Twombly and many more.

The exhibition at the Haus der Kunst concentrates on the period between 1966 and 1978, thereby providing a lively portrait of the progressive, international art scene at that time.

On Kawara, I Got Up, 1972, detail, The Museum of Modern Art, New York
On Kawara, I Got Up, 1972, detail, The Museum of Modern Art, New York
Marcel Broodthaers, Le Vinaigre des Aigles, 1968, The Museum of Modern Art, New York © Marcel Broodthaers / VG Bild-Kunst, Bonn 2010
Marcel Broodthaers, Le Vinaigre des Aigles, 1968, The Museum of Modern Art, New York © Marcel Broodthaers / VG Bild-Kunst, Bonn 2010
Lawrence Weiner, A Bit Of Matter And A Little Bit More, 1976 © VG Bild-Kunst, Bonn 2010
Lawrence Weiner, A Bit Of Matter And A Little Bit More, 1976 © VG Bild-Kunst, Bonn 2010
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, installation view, Haus der Kunst, 2010, photo Wilfried Petzi
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, installation view, Haus der Kunst, 2010, photo Wilfried Petzi
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, installation view, Marcel Broodthaers, Poèmes industriels, 1968–69, The Museum of Modern Art, New York © Marcel Broodthaers / VG Bild-Kunst, Bonn 2010, photo Wilfried Petzi
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, installation view, Marcel Broodthaers, Poèmes industriels, 1968–69, The Museum of Modern Art, New York © Marcel Broodthaers / VG Bild-Kunst, Bonn 2010, photo Wilfried Petzi
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, Niele Toroni, Empreintes de pinceau N° 50 répétées à intervalls réguliers de 30 cm, 1972, The Museum of Modern Art, New York, photo Wilfried Petzi
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, Niele Toroni, Empreintes de pinceau N° 50 répétées à intervalls réguliers de 30 cm, 1972, The Museum of Modern Art, New York, photo Wilfried Petzi
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, installation view, Daniel Buren, Tissu en coton rayé de bandes verticales blanches et colorées de 8,7 cm (+/- 0,3 cm) chacune. Les deux bandes extrêmes blanches recouvertes de peinture arcrylique blanche recto-verso, 1970, The Museum of Modern Art, New York, photo Wilfried Petzi
Less is More. Pictures, Objects, Concepts from the Collection and Archive of Herman and Nicole Daled 1966–1978, installation view, Daniel Buren, Tissu en coton rayé de bandes verticales blanches et colorées de 8,7 cm (+/- 0,3 cm) chacune. Les deux bandes extrêmes blanches recouvertes de peinture arcrylique blanche recto-verso, 1970, The Museum of Modern Art, New York, photo Wilfried Petzi

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