rebecca horn
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.
Rebecca Horn's piece, Paradiso, measured almost the entire space of the room where it was being displayed. The sensuality of these works, their amalgamation of longing and denial, are only apparent when you see the performances (Wilkin). The element of timing is crucial in all her pieces, while also each individual performance piece is connected with the element of time. In Rebecca Horn's performance pieces, she pays a close attention to details when construction her exhibitions. While being distracted, the piece you were concentrating on has had its moment of action and is once more at rest. In a couple of interviews, according to Wilkin, Horn speaks of her experience, of her responses to particular sites and their histories, of what has provoked her imagery, of how she thinks about what she makes. Horn trusts her work to speak for itself, without the burden of text or explication (Wilkin). 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. The experience of her illness and her hospitalization lead her to a new direction which still remains central to Horn's art. The way a fragile egg and a threatening pointed rod abut, the way an insubstantial cone of pigment echoes a funnel that holds the memory of liquid once channeled through it, the contrast of powdery pigment and sleek stainless steel, and the way man-made and natural substances relate, are as important as the associations they call up in the viewer (Wilkin). She has presented her work at the Pompidou Centre, Paris; Tate Gallery, London; Stedelijk Museum, Amsterdam; and the Guggenheim Museum, New York (csw). The rods would vibrate causing the liquid from the bowls, resembling milk, to drop slowly and rhythmically all the way down to a pool below. While you watch one piece "perform" or wait to see how or when or if it will come to life you will take a glimpse at another in brief motion out of the corner of your eye, or hear the sound of its falling back after its exertions. Horn constructed Painting Machine, which incorporated a parade of revolving shoes rotating on a turn table, while from up above, two long brushes, attached to a dipping mechanism, would submerge the paint brushes in cups of pigments and drip all over the satin shoes below. Raked from time to time by electric sparks, Horn used a flow of electric current to pulse through the metal by a timer.
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