Rebecca Horn (born 1944 in Michelstadt, Germany) since the early 1970s has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural environments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine, the artist’s contribution to documenta 7 in 1982 has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon like arrowheads.Read More
Having studied in Hamburg and London, from 1989, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in Documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017). A first mid-career retrospective of her work was organised in 1993 by the Guggenheim Museum, New York, traveling to the Stedelijk Van Abbemuseum, Nationalgalerie Berlin, Kunsthalle Wien, Tate Gallery and Serpentine Gallery, London, and the Musée de Grenoble. A second retrospective was presented at the Hayward Gallery in London in 2005. Another retrospective took place at Martin-Gropius-Bau in Berlin in 2006. After having lived in New York for almost a decade, Rebecca Horn since 1981 has been living in Paris and Berlin. This spring, two major exhibitions of her work take place simultaneously at Centre Pompidou Metz and at Museum Tinguely in Basel.
Text courtesy Galerie Thomas Schulte.
METZ, France; BASEL, Switzerland — The Centre Pompidou-Metz and Museum Tinguely have joined together to present a remarkably diverse and prolific two-part exhibition devoted to the German artist Rebe
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