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#当前展览#瑞贝卡·霍恩#CloudCollection#作品介绍
On-site at "Shadow of a Butterfly—In Memory of Rebecca Horn", The Cloud Collection, 2024-25; Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Cutting one's hair with two pairs of scissors simultaneously（Video still frame）, 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca Horn, Ackownledgement to The Studio of Rebecca Horn and The Cloud Collection
"My performances started out as body sculptures. All the basic movements were centered on movements made by my body and its extremities. I used parts of my body-arms, legs, head - to create responsive extensions with which I could then perform certain experiments upon myself. For one particular space, for instance, I once constructed some gloves which were so precisely calculated in length that I was able to touch the walls when I stretched my arms.Through this, my own body space expanded to take in the entire room. All my early works were concerned with the relation between space and the body. At that time I developed a sharpened sensibility for light and spatial energy, an innate sense of the moment when a certain action in a room should start; from these considerations I evolved a new dialogue between spaces and sculptures."①
Performances I, 1970-1972②Performances I (1970-1972) is a nineteen-minute colour film shown as video consisting of a collection of performance works enacted for the camera. The performances focus on interventions on the human body, using paint, hair or garment-like sculptures worn by a performer, and are set against a neutral background or an otherwise deserted outdoor location. Most actions are performed by single individuals, and never are any performed by more than three people. Each of the segments that comprise Performances I is introduced by a title card bearing the individual title of each performance in German, in white characters on black. Throughout, a repetitive choir of chanting voices serves as the soundtrack. The title of the whole film as announced on the opening title card is Performances. The number was added to the official title of the work after Horn released Performances II in 1973 as a companion to this first compilation (Tate T07623). A second card announces the date as‘1970–1972’, indicating the period over which the segments were filmed.The first five performances included in the compilation feature naked bodies as the bases for simple stop-motion animations, reminiscent of the special efects employed in the early years of cinema. In‘Red Limbs’ (‘Rote Glieder’), the arms and legs of a performer gradually become covered in red paint. In‘Black Expansion’ (‘Zunehmendes Schwarz’), the back of a body appears to gradually disappear into the dark background as black paint is applied to its edges, expanding towards the centre until only a thin slice of skin remains visible.The second half of Performances I introduces what Horn calls her‘body-sculptures’, objects made out of fabric, metal, wood and sometimes feathers, designed to be worn and used in performative actions. In‘Black Cockfeathers’ (‘Hahnengefieder’), two feathery wings envelop the torso of a male performer, who opens them slightly in a fluttering motion by pulling hand-held strings (see Tate T07859). A woman’s hands are also seen caressing the feathers.
Rebecca Horn, Performance Ⅰ—Black Cockfeather（Video still frame）, 1970-1972, Film, 16mm, Color, 19 minutes ?The Studio of Rebecca Horn‘Head Balance’ (‘Balancestab’), set in a grassy field, features a male performer attempting to balance a long white pole horizontally on top of his head,held in place at its centre with head-bands.Rebecca Horn, Performance Ⅰ—Head Balance(Video excerpt), 1970-1972, Film, 16mm, Color, 19 minutes ?The Studio of Rebecca Horn In‘Shoulder Extensions’ (‘Schwarze H?rner’), a male performer wears elongated black structures strapped to his shoulders and across his chest. As he walks through a rocky landscape, the two horns swing back and forth, following his movements (see Tate T07860). In‘Feather Instrument’ (‘Federkleid’), rows of white feathers mounted on horizontal rods cover the front and back of a naked male body, and are individually controlled via strings by female participants. As these participants pull the strings, the feathers lift, revealing strips of the body underneath (see Tate T07848).
Rebecca Horn, Performance Ⅰ—Shoulder Extensions(Video still frame), 1970-1972, Film, 16mm, Color, 19 minutes ?The Studio of Rebecca HornFollowing a serious lung condition, Horn spent most of 1968–9 bedridden and in isolation. During this period of convalescence she started a series of pencil sketches (see Tate T12783–T12791) depicting pseudo-medical and prosthetic apparatuses concerned with the body and its vulnerability. She had already started to explore these themes as a student at the Hochschule für Bildende Künste in Hamburg, where she had been enrolled since 1964. Horn then started producing these objects as hand-sewn sculptures which she could create while still in bed, some incorporating feathers given to her by a friend in Hamburg. As she later recorded: ‘I eventually reorganized them to make a wing, which grew until it covered the whole body … I could caress somebody with this wing, or somebody could be held inside it, becoming a bird-person’ (Horn interviewed by Germano Celant in Solomon R. Guggenheim Museum 1993, p.17) . These ‘body sculptures’ were meant to be worn and used as props in intimate actions. In 1970 Horn started filming herself and a small circle of collaborators performing while wearing the body-sculptures. Some of these early films were collected in 1972 as Performances I (the film gives camera credits to artist K.P. Brehmer, who had started teaching at Hamburg’s Hochschule für Bildende Künste in 1971) .Several versions of Performances I are known to exist. The version in Tate’s collection was donated by the artist in 2000, before it was re-released in DVD format in 2003 with a new soundtrack. The filmography published on the artist’s website and several catalogues list the film Simon-Sigmar 1971 as part of Performances I, but the Tate version does not include this.
Performances II (1973) is a thirty-five minute colour film shown as video consisting of a collection of performance works enacted for the camera. The performances focus on interventions on the human body, using feathers, hair and garment-like sculptures worn by a performer, and are set against a neutral background or an otherwise deserted outdoor location. Most actions are performed by one or two people, with the exception of ‘Head Extension’, which has five participants. Each of the segments that comprise Performances II is introduced by a title card bearing the individual title of each performance in German and its year of realisation, in white characters on black. The soundtrack consists of occasional ambient sounds, although it is mostly silent.‘Unicorn’ (‘Einhorn’ , 1970) features a female performer walking along a tree-lined path and across a field wearing nothing but a harness of white fabric straps, culminating at the top in a long white horn (see Tate T07842) . Rebecca Horn, Performance Ⅱ—Unicorn(Video excerpt), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca HornIn ‘Head Extension’ (‘Kopf-Extension’ , 1972), a male performer is fitted with a five-metre long black cone, terminating in a vest which covers his head and secures the structure to his torso. Unable to see, and precariously balancing the enormous cone on his shoulders, he is guided across a field by four people holding ropes connected to the top of the structure (see Tate T07861) .
Rebecca Horn, Performance Ⅱ—Head Extension(Video excerpt), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca HornIn ‘White Body Fan’ (‘Wei?er K?rperf?cher’ , 1972), a woman (the artist) stands in an arid landscape wearing two vast semi-circular membranes attached to her sides on her legs and arms. Using her legs as a static pivot, she extends and swings these white sails with gliding arm movements, occasionally enclosing her whole body like a shell (see Tate T07844) . Rebecca Horn, Performance Ⅱ—White Body Fan(Video excerpt), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca Horn
In ‘Finger Gloves’ (‘Handschuhfinger’ , 1972), a female performer (again the artist) is seen wearing black gloves with extremely elongated fingers, with which she touches the floor and the bare back and hair of a person lying face down (see Tate T07845) . Rebecca Horn, Performance Ⅱ—Finger Gloves(Video excerpt), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca Horn‘Feather Finger’ (‘Federfinger’ , 1972) consists of close-ups of a hand with feathers attached to each finger with a ring, with which the wearer caresses her arm and torso.Rebecca Horn, Performance Ⅱ—Feather Finger(Video excerpt), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca HornIn ‘Gavin’ , 1971, the camera turns 360 degrees around the bust of a man wearing an afro hairstyle, which is revealed to cover the whole head, with no front or back.
On-site at "Shadow of a Butterfly—In Memory of Rebecca Horn", The Cloud Collection, 2024-25; Rebecca Horn, Performance Ⅱ—Gavin(Video still frame), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca Horn, Ackownledgement to The Studio of Rebecca Horn and The Cloud CollectionIn ‘Cockfeather Mask’ (‘Hahnenmaske’ , 1973) the artist wears a mask featuring rows of feathers running from the top of her head to her chin across the central axis of her face. She is seen frontally, passing her fingers through the black feathers, and then in profile, using this fan shape to caress the face of a male performer, brushing it from side to side but unable to get her mouth close to his skin (see Tate T07849) .
Rebecca Horn, Performance Ⅱ—Cockfeather Mask(Video still frame), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca Horn
‘Pencil Mask’(‘Bleistiftmaske’ , 1972) shows the artist wearing a mask made out of green strips of fabric arranged in a grid, with a pencil mounted like a spike at each point where the strips cross (see Tate T07847) . Horn is seen frontally, touching an invisible surface with the tip of the pencils, then she turns towards a white vertical surface and proceeds to brush against it repeatedly, drawing layer after layer of lines as the pencils are dragged from side to side.Rebecca Horn, Performance Ⅱ—Pencil Mask(Video excerpt), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca Horn In ‘Cockatoo Mask’ (‘Kakadu-Maske’ , 1973), a woman (possibly the artist) wears a mask consisting of two wings of white feathers which cover her face entirely (see Tate T07850) . Another woman opens the mask and puts her face between the wings, which hug the back of her head, holding it inside in a close face-to-face proximity which remains hidden to the viewer.Rebecca Horn, Performance Ⅱ—Cockatoo Mask(Video still frame), 1973, Film, 16mm, Color, 35 minutes ?The Studio of Rebecca Horn
This second compilation of performance works, made after Performances I 1972 (Tate T07622), features a number of Horn’s ground-breaking ‘body-sculptures’; masks and prosthetic appendages she designed for herself and her collaborators to wear and use as props in intimate actions, exploring and enhancing sensory relationships with the surrounding space and with other people. Performances II includes footage of a work that had previously been released as a stand-alone short film, Unicorn 1970, which the curator Harald Szeeman selected for inclusion in the exhibition documenta 5 at Kassel in 1972. ‘Head Extension’ was also performed in Kassel’s Auepark as part of the same exhibition. This was Horn’s first major exhibition appearance, which launched her career internationally. The same year, Horn moved to New York, where she continued to record her performances with body-sculptures: ‘ Pencil Mask 1972 and Finger Gloves 1972 ’ were filmed in her New York studio.Horn explained the idea behind her early performances in an interview with Italian critic and curator Germano Celant:Looking back at these first pieces you always see a kind of cocoon, which I used to protect myself. Like the fans where I can lock myself in, enclose myself, then open and integrate another person into an intimate ritual. This intimacy of feeling and communication was a central part in the per formances . (Horn in Solomon R. Guggenheim Museum 1993, p.16.)Several versions of Performances II are known to exist. The version in Tate’s collection was donated by the artist in 2000, before it was re-released in DVD format in 2003 with a new soundtrack. The title of the work has been published as both Performances II and Performances 2. However, the title card which appears in the film reads Performances II.Berlin -übungen in neun Stucken, 1974-1975④Berlin Exercises: Dreaming under Water 1974–5 is a colour film, shown as a video, consisting of a series of performance works enacted by one or two people for the camera. The film is divided into segments, introduced by the title of each individual performance in English (the text below uses diferent English translations, corresponding to those given in the artist’s filmography: http://www.rebecca-horn.de/pages/filmography.html, accessed 10 June 2016). The performances focus on interventions on the human body, sometimes featuring garment-like sculptures worn by the performers, and are set in a single interior: a room with two windows, unfurnished except for a mirror and occasional props.In ‘Touching the walls with both hands simultaneously’ Horn is seen wearing a pair of white gloves with elongated fingers (see Finger Gloves 1972, Tate T07845), extending her reach to the exact width of the room as she walks back and forth on its central axis. The sound of her gloves scratching the walls is amplified in the soundtrack. Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Touching the walls with both hands simultaneously(Video excerpt), 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca Horn
In ‘Blinking’, the artist shares the room with a white cockatoo and imitates its behaviour by covering one eye, winking and emitting loud sounds. The cockatoo, fairly indiferent to her, moves around the room and interacts with the mirror. Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Blinking(Video excerpt), 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca HornIn ‘Feathers dance on the shoulders’, a female performer wears a shoulder-mounted apparatus with brown-spotted feathers attached to strings that she pulls with her feet (see Tate T07852). As she dances to Renaissance music, the feathers move up and down rhythmically following her movements. Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Feathers dance on the shoulders(Video still frame), 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca Horn
In ‘Keeping hold of those unfaithful legs’, the artist and a male performer wear a harness with white straps holding a row of magnets along one of their legs (see Tate T07853). The two try to use the magnets to hold their legs together and coordinate their movements as they walk around the room like a three-legged creature. Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Keeping hold of those unfaithful legs(Video still frame), 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca Horn
In ‘Two little fish remember a dance’, the hair on a man’s chest becomes a simulated bed of algae, where two plastic fish mounted on sticks appear to chase each other. An electric fan helps create the illusion of the ‘algae’ moving underwater. In ‘Rooms meet in mirrors’ the artist, whose body is covered in small mirrors (see Rooms Encountering Each Other Tate T07854), plays with the fragmented reflections in front of the larger mirror, alternating images of herself, of the room where she is standing, and of the view from the nearby windows. Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Rooms meet in mirrors(Video still frame), 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca Horn‘Shedding skin between moist tongue leaves’ sees close-ups of various body parts mimicking animal movements in dense vegetation, which is revealed at the end of the segment as a set constructed within the room with potted plants.Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Shedding skin between moist tongue leaves(Video still frame), 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca Horn
‘Cutting one’s hair with two pairs of scissors simultaneously’ begins with a man describing the ‘combat dances’ and mating rituals of certain snakes (in German, with English subtitles). The artist appears during the narration in a close up, holding a pair of scissors in each hand and crudely cutting her hair shorter and shorter. In the final sequence, one of the windows appears to open by itself. The film ends with a brief textual epilogue superimposed on the image of the empty room with one open widow. It translates as: ‘When a woman and her lover lie on one side looking at each other, / and she twines her legs around the man’s legs / with the window wide open, it is the oasis’.Rebecca Horn, Berlin Exercises: Dreaming under Water 1974–5—Cutting one's hair with two pairs of scissors simultaneously(Video excerpt), 1974-1975, Film, 16mm, Color, 42 minutes ?The Studio of Rebecca Horn
Unlike Horn’s previous collections of filmed performances featuring her ‘body-sculptures’ (see Performances I, Tate T07622 and Performances II, Tate T07623), these eight pieces (nine with the epilogue) are a self-contained series of actions that were conceived for a room which the artist rented in Berlin with the sole purpose of making the film. Horn had moved to West Berlin in 1973, the year of her first solo exhibition at the Galerie René Block. She devised a series of tasks to perform in front of a camera, and the film describes the intense relationship between the artist and the space, which she inhabits and redefines through gestures and sculptural interventions. Berlin Exercises can thus be seen as Horn’s first large-scale installation, as well as her first true film. In each segment the body is either turned into a mechanical device enhanced by various prostheses or associated with animal behaviour. Some segments focus on the use of mirrors and wearable tools, continuing Horn’s experiments with body-sculptures. Other segments, less rooted in her sculptural practice, read like surreal, poetic vignettes.The film’s epilogue features lines taken from Paul éluard and André Bréton’s poem ‘Immaculate Conception’ 1930, a choice which asserts the importance of surrealism and the written word more generally to Horn’s oeuvre. The artist’s own writings became the narrative backbone of all her subsequent films, beginning with the uncompleted short film Paradise Widow 1975 (Tate T11849), in many ways a direct continuation of Berlin Exercises (the two works share the same location). Berlin Exercises won Horn the 1975 Deutscher Kritikerpreis in the visual arts category, further establishing her reputation as an emerging artist.Documentation of performances, 1970-1972In Shadow of A Butterfly: In Memory of Rebecca Horn, a collection of Rebecca Horn’s performance photography from the 1970s is on display from the The Cloud Collection. These include Unicorn, Movable Shoulder Extensions, Black Cockfeather,Feather Instrument, Finger Gloves, and White Body Fan. These works originated from the artist’s early iconic video pieces, Performance I and Performance II. As classic excerpts of Horn’s early “body sculptures”, these images profoundly reveal her explorations of "body" ,"space" and "relationships", vividly illustrating her artistic concepts and creative journey.
Exhibition Site of "Shadow of a Butterfly—In Memory of Rebecca Horn", The Cloud Collection, 2024-25; Rebecca Horn, Documentation of performances, Black and white print, 106×82cm；From right to left: 01/02, Unicorn,1970; 03, Movable Shoulder Extensions, 1971; 04, Black Cockfeathers, 1971; 05, Feather Instrument, 1972; 06, Finger Gloves, 1972; 07/08, White Body Fan, 1972 ?The Cloud Collection
Rebecca Horn, Documentation of performances,Ackownledgement to artist and The Cloud Collection.
Note：All video works in the exhibition are provided by The Studio of Rebecca Horn?The Studio of Rebecca Horn
① Rebecca Horn：Concert for Anarchy 2021，Published by Hatje Cantz，ISBN: 978-3775751209，Page 14
②③④ Performance Ⅰ, Performance Ⅱ, Berlin Exercises: Dreaming under Water 1974–5 text
Written by Valentina Ravaglia
Rebecca Horn, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1993.Rebecca Horn: The Glance of Infinity, exhibition catalogue, Kestner Gesellschaft, Hanover 1997. Rebecca Horn, exhibition catalogue, Institut für Auslandsbeziehungen, Stuttgart 2000.
Rebecca Horn
Image of Rebecca Horn
?Ute Perrey, Courtesy of Rebecca HornRebecca Horn was born in Michelestadt, Germany in 1944. Having studied in Hamburg and London, from 1989, she 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; 2022), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1987; 1997). Throughout her career she has received numerous awards including Kunstpreis der B?ttcherstra?e (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 organized 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. Further retrospectives were presented at the Hayward Gallery in London in 2005, at Martin-Gropius-Bau in Berlin in 2006, at Centre Pompidou Metz and simoultaneously at Museum Tinguely in Basel in 2019. On the occasion of her 80th birthday, a retrospective was presented at Haus der Kunst München in 2024. Rebecca Horn was one of the most important cross-media artists of the post-war generation. Her works blurs the boundaries between performance, film, sculpture, large-scale installations, drawing, text and photography, as well as between man, machine and nature.
策展人Curator：
朱朱 Zhu Zhu
艺术家Artist：
瑞贝卡·霍恩 Rebecca Horn
展期Dates：
2024年11月10日 - 2025年1月10日
10th Nov 2024 - 10th Jan 2025.
开幕Opening:
2024.11.10 | 16:00–18:00
地点Location：
萃舍云集The Cloud Collection
江苏省南京市建邺区云龙山路66号
No.66 Yunlongshan Road, Jianye District, Nanjing
特别提示Special Notice：
本次展览为预约开放，时间为展期内的每周二至周五的下午13：00 - 16：00
The exhibition is open by appointment from 1:00pm - 4:00pm, Tuesday - Friday.
About The Cloud Collection
萃舍云集The Cloud Collection-当代艺术收藏中心创立于2017年，聚焦于当代艺术的收藏、展览、研究与教育。
萃舍云集关注不同媒介领域的艺术家在艺术本体层面的自觉追求，以及当代艺术对社会情境的互动性反思，支持年轻艺术家的创新思维及多样性的创作面貌，呈现东、西方各种观念在历史整体背景及变化中的对话关系。致力于构建具有学术性、系统性、前瞻性的当代艺术作品的收藏和研究体系。
萃舍云集2023年在南京开放实体文献中心与展示空间，将通过一系列展览、艺术研究、文化沙龙等活动，以厚“集”薄发的工作方式，为当代艺术的发展提供持久助力和生长环境。
The Cloud Collection - Contemporary Art Center, founded in 2017, focuses on the collection, exhibition, research, and education of contemporary art.
The Cloud Collection pays attention to the intrinsic pursuit of artists who work in different media and contemporary art's interactive reflections on the social context. It supports the innovative thinking of emerging artists and the diversity of their creative expressions, presenting dialogues between various Eastern and Western concepts within the context of historical background and changes. It is committed to building an academic, systematic, and forward-looking collection and research system for contemporary art.
In 2023, The Cloud Collection opened its archive center and exhibition space in Nanjing. It will provide a long-lasting support and growth environment for the development of contemporary art through a series of exhibitions, art research, cultural salons, and other activities, using an approach that values quality over quantity.
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