The works of Charlotte Posenenske (Wiesbaden, 1930-Frankfurt am Main, 1985) consist of series in an unlimited edition. According to a number 0f rules, they can be made and repeated – also by others – and combined with each other. With her radical and ‘democratic’ ideas about material, production and authorship, Charlotte Posenenske influenced and shaped conceptual and minimalist art of the sixties.

Minimalist series

Charlotte Posenenske began as a painter, but she felt limited by the flat surface and soon moved on to creating spatial works. The forms of Series B (1967) are hung as reliefs on the wall, but also placed as objects in the spatial environment. This is followed in 1968 by Series D and Series DW, whose format and shape are reminiscent of ventilation shafts.


Although Charlotte Posenenske did not consider herself to be a political artist, she had a clear and strong vision of societal relations, which in her view had to be rational, concrete, accessible and democratic. With her work she wanted to set a standard for this: the materials which she used like cardboard and steel are cheap, the works are sold for a fixed low price and the assembly and installation of her modular systems can be done by ‘everyone’: buyers, exhibition makers, and even the public. Posenenske’s social engagement is also expressed through the installations she created in public spaces, such as airports, train stations, conference rooms and on the street.

Contemporary artists and Posenenske

Disappointed in the social scope of art, Charlotte Posenenske left the art world in 1968 to study sociology. Her work and views remain however points of reference for younger generations of artists. In the Kröller-Müller Museum, Ruth Buchanan (New Plymouth, 1980) and Yeb Wiersma (Groningen, 1973) react to the work of Charlotte Posenenske. Both artists investigate in their work the boundary between art and daily life.

Guided tour Saturday and Sunday

As part of Ruth Buchanan’s work a guided tour starts from the exhibition space at 14.00 hrs on Saturday’s and Sunday’s.

Charlotte Posenenske. Lexicon of Infinite Movement is curated by Suzanne Wallinga and Eloise Sweetman, in close collaboration with the Charlotte Posenenske Estate in Frankfurt.

Background information on the makers and artists

To the exhibition guidebook

Images: Charlotte Posenenske, Lexicon of Infinite Movement, Installation View, Kröller-Müller Museum, 2019. Courtesy Burkhard Brunn, Estate of Charlotte Posenenske & Mehdi Chouakri Gallery. Photo: Marjon Gemmeke / Charlotte Posenenske, Serie D Vierkantrohre (1967/2019), Kröller-Müller Museum, 2019. Courtesy Burkhard Brunn, Estate of Charlotte Posenenske & Mehdi Chouakri Gallery. Photo: Marjon Gemmeke / Series E Grosser Drehflügel (Large Revolving Vanes), 1967/68, Frankfurt am Main airport (with Charlotte Posenenske) / Ruth Buchanan, Split, Splits, Splitting (2019), Kröller-Müller Museum, 2019. Courtesy the artist and Hopkinson and Mossman. Photo: Marjon Gemmeke