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 Rebecca Horn.

Horn’s oeuvre is rich in art-historical connotation while being bound together by a consistent, thematic logic that often includes references to mythical, historical, literary, and spiritual imagery. Sentience through transformative cinematic suggestion is the subject of Theatre of Metamorphoses in Metz, while body-launched machine kinetics is the focus of the non-chronological Body Fantasies show in Basel. When seen together, the two exhibitions make a powerful case for viewing Horn as fairy tale prophetic in her invocations, and richly relevant to current electronic and mechanical realities. Her work imbues our technological world with the animistic sensibility of panpsychism: the view that all matter has a component of flowing qualia.

Another of her grand subjects appears to be unobservable force-field energies and their pressures of attraction and repulsion and circulation that pass through and around the human body. This is perhaps best exemplified with the photograph of the young man wearing her “Overflowing Blood Machine” (1970). This blood flow theme is made encroachingly poignant by the partially debilitating stroke Horn suffered in 2015.

Για περισσότερα δες εδώ.