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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Roni Horn

b. 1955, USA

From glass sculptures to photographic installations to works on paper and books, Roni Horn's practice has long explored a plethora of concerns, from the shifting nature of identity and its meaning, to the concept of doubling and the changeability of the weather.

A native of New York, Horn graduated from the Rhode Island School of Design in 1975 and travelled to Iceland. There, she was struck by the country's unpredictable weather and began photographing the landscapes. She returned to the United States and earned her MFA in sculpture from Yale University in 1978, but has been inspired by Iceland ever since. 'To Place', an ongoing book series that begun in the 1990s, thus far consists of ten volumes that examine Iceland's geography, geology and culture. Folds (1991), for example, focuses on the sheepfolds scattered throughout Iceland. Haraldsdóttir contains images lifted from Horn's photographic series 'You are the Weather' (1994—5), which is comprised of 100 close-ups of a model's face as she stands in water. Her facial expression is slightly different in each picture—a metaphor for Iceland's varieties of weather, light and water.

Similarly based on Iceland is Vatnasafn/Library of Water (2007), an installation of 24 glass columns inside a former library in Stykkishólmur. Horn started casting glass sculptures in the mid-1990s, creating often large and coloured cylinders; for Library of Water, she filled the pillars with melted ice gathered from 24 glaciers as a reminder of the human impact on the environment. The clear glass columns distort the view of the seascape outside while shedding light on the rubber floor, which is incised with words—in both Icelandic and English—related to the weather such as 'foul' and 'moist'. Intended as a site of private meditation as well as community gatherings, the building also holds collections revolving around language, water and weather reports, including recordings of Stykkishólmur and nearby residents discussing the weather.

Horn's fascination with the dynamic nature of weather is parallel to her interest in the multiplicity and mutability of identity, explored through her self-portraits in various media. In a 2009 article in W Magazine, for example, she described the stainless steel and copper balls in her 'Asphere' (1988) series as a form of self-portrait. Despite their initially spherical appearances, the balls have inexact dimensions that compel the viewer to look at them twice; Horn's representation of herself similarly attempts to resist straightforward identification. This was directly addressed in the photographic series 'aka' (2008—9), for which Horn arranged pictures of herself to convey her ever-changing identities, from a frizzy-haired youth to an androgynous and middle-aged individual. The transformations in some images were extreme to the point that it becomes difficult to recognise the subject as Horn. Inanimate objects stood in for the artist in the 'self-portraits' that comprised 'The Selected Gifts, 1974—2015' (2015—16)—a photographic series that portrayed Horn through the gifts that she had received over the course of four decades, from letters and books to a stuffed swan and Flintstone figurines.

Drawing is also an indispensable aspect of Horn's practice. Her drawings often resemble elements of nature, such as clouds dropping rain in Yet 3 (2013—17), or organs, such as the kidney-like form in Or 1 (2014), or the brain in Such 6 (2014). In addition to graphite, Horn employs materials as diverse as powdered pigment, ink, charcoal and watercolour. Her 'Hack Wit' (2013—15) series works began as watercolour drawings of idiomatic expressions that she cut apart—paper included—and reassembled to create one nonsensical sentence. In Hack Witrainbow oblivion (2014), for example, the phrases 'consign to oblivion' and 'chasing rainbows' become 'consign the rainbow to chasing oblivion' while Hack Witaching cheap (2014) reads, 'A cheap suit all over me like an aching void'.

Selected solo exhibitions include Roni Horn. PI, Pinakothek der Moderne, Munich (2018); Remembered Words, Kukje Gallery, Seoul (2018); The Selected Gifts, (1974—2015), Rat Hole Gallery, Tokyo (2017); Roni Horn, Hauser & Wirth, New York (2017); and Roni Horn, Fondation Beyeler, Basel (2016). In 2009, the Whitney Museum of American Art and Tate Modern organised a retrospective of her work titled Roni Horn aka Roni Horn that travelled to Collection Lambert, Avignon, and The Institute of Contemporary Art, Boston.

Horn lives and works in New York and Reykjavik.

Sherry Paik | Ocula | 2019
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Featured Artworks

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Hollowed Mass IV (bowl of mass) by Roni Horn contemporary artwork
Roni HornHollowed Mass IV (bowl of mass) solid cast lead
20 x 68 x 25 cm
Xavier Hufkens
Must 49 by Roni Horn contemporary artwork
Roni HornMust 49, 1985 Pigment and varnish on paper
22.9 x 36.8 cm
Xavier Hufkens
Pair Object Vis: For Two Locations in One Place by Roni Horn contemporary artwork
Roni HornPair Object Vis: For Two Locations in One Place, 1988/2007 Solid forged and machined OFHC Copper
Hauser & Wirth
Double Mobius, v. 2 by Roni Horn contemporary artwork
Roni HornDouble Mobius, v. 2, 2009/2018 Gold foil: '4 Nine' pure (with 2 plastic pegs)
6.4 x 76.2 x 5 cm
Hauser & Wirth
Hack Wit—clam world by Roni Horn contemporary artwork
Roni HornHack Wit—clam world, 2014 Watercolour, pen and ink, gum arabic on watercolour paper, cellophane tape
55.9 x 38.7 cm
Hauser & Wirth
Frick and Fracks by Roni Horn contemporary artwork
Roni HornFrick and Fracks, 2017–2018 Gouache, and/or watercolour on paper
Hauser & Wirth

Recent Exhibitions

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Contemporary art exhibition, Roni Horn, Roni Horn at Hauser & Wirth, Hong Kong
Closed
27 November 2018–2 March 2019 Roni Horn Roni Horn Hauser & Wirth, Hong Kong
Contemporary art exhibition, Group Exhibition, Tables, Carpets & Dead Flowers at Hauser & Wirth, Zurich
Closed
17 November–21 December 2018 Group Exhibition Tables, Carpets & Dead Flowers Hauser & Wirth, Zürich
Contemporary art exhibition, Roni Horn, Wits’ End Sampler | Recent Drawings at Hauser & Wirth, Zurich
Closed
10 June–1 September 2018 Roni Horn Wits’ End Sampler | Recent Drawings Hauser & Wirth, Zürich

Represented By

In Related Press

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Roni Horn talks remote control in her upstate New York retreat Related Press Roni Horn talks remote control in her upstate New York retreat Wallpaper* : 27 June 2019

To get to Roni Horn's home and studio in upstate New York, you drive through farm villages, past horses grazing on meadows, and after a few turns, reach a gate leading to a rugged dirt road. Even on a balmy spring day, the road is covered in a layer of ice. It's a long, winding ascent until you reach another turn, passing by two seal-brown...

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Roni Horn draws attention with first museum exhibition at Menil Drawing Institute Related Press Roni Horn draws attention with first museum exhibition at Menil Drawing Institute Houston Chrronicle : 7 March 2019

'You got some good questions for me?'Hard to say if Roni Horn was being friendly, impatient or intimidating. She exudes classic New York directness, which some might see as abrupt. She had a head cold, and she was fighting sneezes.One of America's sharpest-minded artists of the past 30 years, Horn has made important photo books, sculpture and...

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‘REVIEW: RONI HORN, WHEN I BREATHE I DRAW PART I’ AT MENIL DRAWING INSTITUTE Related Press ‘REVIEW: RONI HORN, WHEN I BREATHE I DRAW PART I’ AT MENIL DRAWING INSTITUTE Arts and Culture Texas : 4 March 2019

There is something about the gauzy lighting at the Menil Drawing Institute that makes me mistrust my eye. A scrim seems to hang in the air, making the walk toward Roni Horn's drawings especially dreamy, at once hazy and hushed. This magical approach creates the effect of an unfolding: each drawing emerges gradually, in all its inexplicable and rich...

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Art that makes you do a double take: Roni Horn’s mesmerising sculptures in Hong Kong Related Press Art that makes you do a double take: Roni Horn’s mesmerising sculptures in Hong Kong South China Morning Post : 4 December 2018

American artist Roni Horn has something akin to an illusionist's ability to make you do a double take, stand still and figure out what it is you are actually seeing, which is quite a feat in an age of mass attention deficiency. It's something evident in her new show in Hong Kong, a survey of her work that spans four decades.The works on display...

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