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Der Plan marks the gallery’s first collaboration with the Estate of Helena Huneke (1967–2012) in a solo exhibition. The selection of works traces the artist’s characteristic movement between industrial design, painting, installation, and performance — through two large-scale fabric assemblages, two objects, and a series of small-format drawings and paintings on paper, the dominant medium within the comparatively small oeuvre the artist left behind.
The eponymous work Der Plan (2002) — “something between a drooping rag and a canvas format, similar to Sigmar Polke’s Schimpftuch” — demonstrates “a command of materials and a developed formal language, while making it clear that it is indebted to a post-minimalist legacy — for example, the folded fabrics of Franz Erhard Walther or the transparent ‘rags’ and ‘cloths’ of Eva Hesse”*.
Huneke divided the piece, much like an advent calendar, into 24 numbered sections, some showing monochrome color fields, others containing sewn-in objects and…
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Press Release
Der Plan marks the gallery’s first collaboration with the Estate of Helena Huneke (1967–2012) in a solo exhibition. The selection of works traces the artist’s characteristic movement between industrial design, painting, installation, and performance — through two large-scale fabric assemblages, two objects, and a series of small-format drawings and paintings on paper, the dominant medium within the comparatively small oeuvre the artist left behind.
The eponymous work Der Plan (2002) — “something between a drooping rag and a canvas format, similar to Sigmar Polke’s Schimpftuch” — demonstrates “a command of materials and a developed formal language, while making it clear that it is indebted to a post-minimalist legacy — for example, the folded fabrics of Franz Erhard Walther or the transparent ‘rags’ and ‘cloths’ of Eva Hesse”*.
Huneke divided the piece, much like an advent calendar, into 24 numbered sections, some showing monochrome color fields, others containing sewn-in objects and…
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