German- Performance Art, Installation, Visual Arts
Since the beginning of the 1970s, Rebecca Horn has been creating an oeuvre which constitutes an ever-growing flow of performances, films, sculptures, spatial installations, drawings and photographs. The essence of their imagery comes out of the tremendous precision of the physical and technical functionality she uses to stage her works each time within a particular space.
In the first performances, the body-extensions, she explores the equilibrium between body and space. In later works she replaces the human body with kinetic sculptures which take on their own life. Her new works define and cut through spaces with reflections of mirrors, light and music.
The objects used and specially made for her installations such as violins, suitcases, batons, ladders, pianos, feather fans, metronomes, small metal hammers, black water basins, spiral drawing machines and huge funnels together build the elements for kinetic sculptures that are liberated from their defined materiality and continuously transposed into ever-changing metaphors touching on mythical, historical, literary and spiritual imagery.
Her work is bound together by a consistency in logic; each new work appears to develop stringently from the preceding one. Elements may be readdressed, yet appear in totally different, divergent contexts.
Following the physical experience of her performances with body extensions, masks and feather objects of the 1970s came the first kinetic sculptures featured in her films such as The Feathered Prison Fan in Der Eintänzer (1978), or The Peacock Machine in La Ferdinanda (1981).