Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Conceptual Practice 5
- The equilibrium between body and space 5
- Kinetic objects and mechanical movement 7
Material Practice 9
Artworks through the frames 11
- Unicorn (1970-1972) 13
- In the Triangle (1973-1974) 15
- LEstel Ferit (1992) 16
Conceptual Framework 18
- Audience 18
- Artist 20
- Artworks 20
- World 22
References 23
3
Cornucopia, Sance for Two Breasts (1970)
No recorded materials
No dimensions
Photography Achim Thode
Rebecca Horn
4
Conceptual Practice
Rebecca Horns artmaking leaves her bed stricken for a year in 1964;
lung poisoning from indecent fiberglass exposure. In this time, despite
her virtual paralysis she designs and sews for a series that would be later
referred to as Body Extensions
you crave to grow out of your own body and merge with the other
persons body, to seek refuge in it (Body Landscapes, p.190, 2005)
She explores her personal space, and the environment through Body
Sculptures that extend on her body and challenge traditional
femininity, simultaneity, communication and distance. Cornucopia,
Sance for Two Breasts (1970), the woman is made self-nourishing
through her connection between her mouth, and her breasts.
The breasts are separated from the rest of the body and in direct
contact through mutual isolation with the mouth. A constant
communication between both takes place. This instrument creates a
sense of communication with oneself (WACK!: Art and the Feminist
Revolution, p.247, 2007)
5
Overflowing Blood Machine (1970) Overflowing Blood Machine (1970)
Originally titled berstromer Image via theartstack
Glass, Metal, Plastic, Water Pump Rebecca Horn
1650 x 700 x 430mm
Not on Display
Photography Tate, London 2017
Rebecca Horn
6
The finger gloves are made from such a light material, that I can
move my fingers without effort. I feel, touch, grasp with them, yet keep
a certain distance from the objects that I touch. The lever action of the
lengthened fingers intensifies the sense of touch in the hand. I feel
myself touching, see myself grasping, and control the distance between
myself and the objects. (The Glance of Infinity, p.58, 1997)
having freed itself from the psychiatric clinic, [the piano] is now
composing its own music, developing a new tonality (Rebecca Horn:
The Glance of Infinity, p.250).
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Pencil Mask (1972)
Originally titled Bleistiftmaske
Fabric, Pencils, Metal
No dimensions
Not on Display
Photography Tate, London 2017
Rebecca Horn
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purpose. The piano is for man to create music, but what if the piano
develops its own composition?
Material Practice
9
White Body Fan (1972)
Originally titled Weisser Krperfcher
Fabric, Metal
2803 x 2700 x 37 mm
Not on Display
Photography Tate, London 2017
Rebecca Horn
10
Artworks Through the Frames
11
Unicorn (1970-1972)
Original Title Einhorn
Wood, Fabric, Metal
No Dimensions
On Display at Tate Modern
Level 3: Performer and Participant
Photography Tate, London 2017
Rebecca Horn
Unicron (1970-1972)
Image via marthagarzon
Rebecca Horn
12
Unicorn (1970-1972)
Subjective Frame
[I had a vision] of this woman, another student. She was very tall and
had a beautiful way of walking. I saw her in my minds eye, walking
with this tall, white stick on her head which accentuated her graceful
walk. I was very shy, but I started talking to her and proposed that I
measure her to build this body-construction that she would have to
wear naked and that would terminate in a large unicorn horn on her
head. To my surprise, she agreed ... I invited some people and we went
out to this forest at four AM. She walked all day through the fields ...
she was like an apparition. (Rebecca Horn, Solomon R.
Guggenheim, 1993)
Rebecca Horn perhaps reaches out the furthest from isolation in this
piece, extending her body through space and the fantastical. The
pureness of the unicorn is exhibited through the nakedness of the model,
and the white headpiece, which can also draw back to Germano Selants
observations. Upon pure observation, this piece leaves questions of
fantasy combined with the human form; almost a sense of longing to
extend. Through further investigation, the sense of longing is shared
between artist and audience.
Postmodern Frame
13
In the Triangle (1973-1974)
Original Title Im Dreieck
Fabric, Wood
Dimensions: 1850 x 5140 x 55mm
On Display at Tate Modern
Level 3: Performer and Participant
Photography Tate, London 2017
Rebecca Horn
14
In the Triangle (1973-1974)
Subjective Frame
In the triangle is basically a huge red fabric and wood triangle with a
space in the middle for a persons body. This work really resonates
with me because although it looks very alienating
and imposing at first, once you know the meaning behind it, and you
know that its about reaching out to people its actually quite positive
and very uplifting (Joey, Tate Modern London, 2016)
The use of wood and fabric in In the Triangle examples what is Horns
ability to use practical materials to convey a greater meaning. Material
similarities, this piece differs in significance as it is a sculpture that
holds great meaning both with and without its human body
counterpart. The symbolism of the human cutout in the middle allows
for almost involvement in the piece, as you could imagine yourself
inside the triangle.
The triangle itself holds a high significance. The shape manipulates the
dimensional value of a human body, and aids that through the
diversion of energy to the ground. The triangle form, in her
construction, appears exclusionary, but it also quite inviting, which
compliments her past emotional traumas.
15
Lestel Ferit (1992)
Otherwise titled The Injured Star
or Homenatge a la Barceloneta (Homage to Barcelona)
Iron, glass
Dimensions: 10.60 x 5.17 x 5.17m
Located at Passeig Martim, Barceloneta Beach
Photography Kevin Booth 2010
Rebecca Horn
16
LEstel Ferit (1992)
Subjective Frame
Like the circle of life, Rebecca Horn found herself back to her origins
as an artist as she was commissioned to create a sculpture along Poble
Nou. Horns sculpture, along with many others, were part of a
movement of urban development; targeting aesthetics for the 1992
Olympic Games in Barcelona. The 8 works were referred to
collectively as Configuracions Urbanes (Urban Configurations).
Postmodern Frame
17
Conceptual Framework
the conceptual framework provides a model for understanding the
agencies in the art world the artist, artwork, world and audience. This
framework also provides for the understanding of the intentional and
functional relations between each corner. NSW Board of Studies Visual
Arts Syllabus Stage 6, 2013
Audience
(also seen in Conceptual Practice)
Most people live in a little prison, you know, in their minds, this
incarceration happens gradually, as we get older, and that one of the
reliefs of art is the light it sends through the bars. (Rebecca Horn to
Jeanette Winterson, The Guardian, 2005)
Rebecca Horn has throughout her career both communicated social and
historical issues, as well as questioned femininity and physical
limitations through her artworks. This is further implied through critical
acclaims and analysis of her work throughout time:
Horn was one of the most important pioneers of the day. Her prosthetics,
bandages and masks referred, in a soft, minimal-mystical language, to
gender roles and the social corset in which one moved. - in reference to
her body extension works, Gesine Borcherdt (2014), Art Review
18
Busters Bedroom (1991)
Film still Tate, London 2017
Rebecca Horn
Untitled (1968-1969)
Original Title Ohne Titel
Graphite on Paper
Dimensions: Frame 479 x 379 x 40mm
Not on Display
Photography Tate, London 2017
Rebecca Horn
19
A professor now of 30 years at the Berlin University of the Arts
(Universitt der Knste Berlin), Horn now is in the position of the
audience, and the critic, upon her students.
Artist
the role of the artist the who, what, how, and why. The concept of the
artist encompasses practitioners such as artists, craftspeople, designers
and architects. The artist can be thought of as an individual or as a
group, school, movement, etc. (NSW Board of Studies Visual Arts
Syllabus Stage 6, 2013)
Artworks
(also seen in Material Practice)
20
Rebecca Horn Self Portrait
Image Source Rebecca-Horn.de
Rebecca Horn
21
World
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8. (2010, October 06). Retrieved March 30, 2017, from
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9. Farrell, J. (2016, May 11). Rebecca Horn: A Stimulating Body of Works. Retrieved
March 30, 2017, from http://www.anothermag.com/art-photography/8674/rebecca-horn-
a-stimulating-body-of-works
10. Cady, C. (2016, January 15). FEMALE STUDY: REBECCA HORN'S COMMON
THREAD. Retrieved March 30, 2017, from
http://www.bagtazocollection.com/blog/2016/1/9/female-study-rebecca-horns-common-
thread
11. Kittle, A. (2014, February 11). Retrieved March 30, 2017, from
http://alexkittle.com/2014/02/11/art-the-body-extensions-of-rebecca-horn/
12. Moonlight Foundation. (2017). Rebecca Horn - official website. Retrieved March 30,
2017, from http://www.rebecca-horn.de/pages/biography.html
13. Deutsche Bank. (2017). Db artmag - all the news on Deutsche Bank Art / db artmag -
alle Infos zur Kunst der Deutschen Bank. Retrieved March 30, 2017, from http://db-
artmag.de/archiv/2004/e/8/2/284.html
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15. Sean Kelly. (2017). Rebecca Horn. Retrieved March 30, 2017, from
http://www.skny.com/artists/rebecca-horn
16. Winterson, J. (2005, May 23). Rebecca Horn creates 'machines with souls' Retrieved
March 30, 2017, from https://www.theguardian.com/artanddesign/2005/may/23/art
17. NSW Government. (2017, March 22). Visual Arts. Retrieved March 30, 2017, from
http://www.boardofstudies.nsw.edu.au/syllabus_hsc/visual-arts.html
18. Roustayi, M. (1989). GETTING UNDER THE SKIN. Retrieved March 30, 2017, from
https://msu.edu/course/ha/452/rebeccahorn.htm
19. Drain, N. (2006). Wild, Weird and Wonderful. Retrieved March 30, 2017, from
http://ndrain.blogspot.com.au/2006/05/rebecca-horn-part-one.html
20. Gayford, M. (2005, May 21). Written with the body. Retrieved March 30, 2017, from
http://www.telegraph.co.uk/culture/art/3642360/Written-with-the-body.html
21. Malyon, J. (2015). Rebecca Horn. Retrieved March 30, 2017, from
http://www.artcyclopedia.com/artists/horn_rebecca.html
22. RoGallery. (2015). Rebecca Horn - Biography. Retrieved March 30, 2017, from
http://rogallery.com/Horn_Rebecca/Horm_zenith_bio.htm
23. Booth, K. (2016, March 28). A star's injured past. Retrieved March 30, 2017, from
https://barcelonafreeart.net/2010/10/05/a-star%E2%80%99s-injured-past/
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24. Herkenhoff, P., & Horn, R. (2005). Rebecca Horn: body landscapes drawings, 1964-2004.
Ostfildern-Ruit: Hatje Cantz.
25. Butler, C. H. (2007). Wack!: Art and the feminist revolution: exposition prsente Los
Angeles, the Museum of Contemporary Art, du 4 mars au 16 juillet 2007. Londres: MIT
Press.
26. Ahrens, C., Haenlein, C., & Horn, R. (1997). Rebecca Horn - the glance of infinity:.
Zrich: Scalo.
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