Performer, Rebecca Horn

VIDEO Rebecca Horn / Cutting Hair & Oasis

REBECCA HORN

Rebecca Horn (24 March 1944, Michelstadt, Germany) is a German installation artist and film director most famous for her body modifications such as Einhorn (Unicorn), a body-suit with a very large horn projecting vertically from the headpiece, and Pencil Mask, a mesh harness for the head with many pencils projecting out. She directed the films; Der Eintänzer (1978), La ferdinanda: Sonate für eine Medici-Villa (1982) and Buster’s Bedroom (1990).Horn presently lives and works in Paris and Berlin.
Horn is one of a generation of German artists who came to international prominence in the 1980s.[3] She practices body art, but works in different media, including performance, installation art, sculpture, and film.[4] She also writes poetry. Sometimes her poetry is influenced by her work, and on many occasions her poetry has inspired her work. When Horn returned to the Hamburg academy she continued to make cocoon-like things. She worked with padded body extensions and prosthetic bandages. In the late sixties she began creating performance art and continued to use bodily extensions.German sculptor and film maker. She studied at the Hochschule für Bildende Künste in Hamburg (1964–70). After a period in London (1971–2), she lived for a long time in New York, with visits to Berlin. In 1968 she produced her first body sculptures, in which she attached objects and instruments to the human body, taking as her theme the contact between a person and his or her environment.
From 1970 Horn documented her work using video and film, establishing a connection between sculpture and action. She increasingly used feathers, for example in masks or constructions that enclose the entire body, closing off the wearer from the environment. The spectator’s occasional glimpses through the constructions produce a high level of intimacy. In a completely darkened cabinet, which closes automatically, the spectator is exposed to the voices of two Chinese girls speaking continuously. Concentrating on these pleasant and incomprehensible sounds, the spectator is finally released into the wealth of sense impressions of the bright, lively gallery space.
In the films Der Eintänzer (1978) and La Ferdinanda – Sonate für eine Medici-Villa (1981) Horn placed her individual actions and objects within a narrative sequence. The intervals show two people or objects making contact with each other: in the tactile sense, having to cover a spatial distance or hindered by reduced mobility; verbally, through difficulties in comprehension; or, visually, through impaired vision. In the film Buster’s Bedroom (1989–90), Horn’s central themes are elaborated with an increasing narrative sense.

SOURCES :

Tate.org
Tate.org | Rebecca Horn, Black Cockfeathers
The Dionysian Divinity of Rebecca Horn
alexkittle.com
art of the day

Rebecca Horn link: Rebecca Horn Official websiteDSCF6314

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