Rebecca Horn was born in 1944 in Germany where she grew up to become one of the most illustrious contemporary German artists of the twentieth-century. She is still currently living and now lives all over the world having homes in New York, Berlin, and London. Her unusual and intense performance pieces have brought her a spot in the art books. In her work, she combines a variety of media: video, performance, installation, and sculpture, which are very characteristic of her style (csw).
Horn's pieces speak to explore the themes of sexuality, human vulnerability and emotional fragility (artfilm). Her references to the human body and the human soul are reoccurring in many of her pieces. Rebecca Horn is more recognized to bring a fascination with transformation, a loss or failure to attain, a sense of fragility and survival, and the passage of time itself into her performance pieces (Wilkins, Karen). She brings to her works reoccurring references and themes like the eggs, the pendulums, the birds, the alchemical fluids, the allusions of hermetic transformation, and utopian quest according to Wilkins.
Almost all of Rebecca Horn's pieces are made from "non-art" materials, partly of choice and partly of necessity.
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The height in which the piece was suspended was about two staircases high, which made Paradiso have a bigger impact. In her earlier years, Horn became confined to a bed for an extended period after severely damaging her lungs with more "traditional" art materials in the 1960s. Horn's early "sculptures" were, in fact, not autonomous objects, but meant to be worn and performed in by specific individuals. Inferno was constructed with three metal bed skeletons, stacked on top of each other in a tower form. According to Horn, it's very much like life; timing counts for a lot. Her mechanical performance pieces are all mostly electric.
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**Bibliography**
Works Consulted
Wilkin, Karen. While being distracted, the piece you were concentrating on has had its moment of action and is once more at rest.
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