Rebecca Horn

Body Sculpture


(Further Reading: The Glance of Infinity Hardcover – September, 1997, ISBN: 3931141667) ( Text below images taken from here)

Mechanical Body Fan, 1973

The fan fits the proportions and measurements of my body. I carry and balance it on my shoulders. Head and shoulders are its centre, the axis of all its circular movements. The two hales of the fan meet to close as a circle above my head. By shifting the balance of my body, both semi circles change their horizontal position and start to rotate. One half turns in front of my body, the other behind me. My body the fixed axis for the movement of the two halves of the fan. Through the slow rotation of the two fan sections, different parts of my body are revealed or hidden. IF i constantly change the angle of rotation, the rotatory speed is increased to such a degree that the fans from a transparent circle. RH – 1973

Finger Gloves, 1972

The material of the finger gloves is so light that i can move them without any effort at all. I can feel, touch and grasp with them, yet maintain a particular distance from the objects I am touching. The lever-action of the extended fingers intensifies my hand’s tactile sensation. I can feel myself touching things, see how i grasp and control any chosen distance between myself and the objects. RH – 1972

Feather Fingers, 1972

The fingers of my right hand are covered and extended by single goose feathers; one feather is attached to each finger with a metal ring. As a living object, the entire feather hand is as symmetrical (and as sensitive) as a bird’s wing. I touch my bare left hand with my feather-dressed right hand, start to touch it and stroke it and carefully examine this new experience. It is as if on hand had suddenly become disconnected from the other, like two utterly unrelated beings. My sense of touch becomes so disrupted that the different behaviour of each hand triggers contradictory sensations. RH – 1972

Arm Extensions, 1968

From her chest to her feet she is wrapped in criss-crossing bandages like a mummy. All movement becomes impossible. Both arms are imbedded in thickly wadded stumps, which serve as balancing props for her body. After being tied up for a while, the subjects gains the impression that, in spite of her erect posture, her arms are gradually touching the ground, as if they were actually growing into the floor and turning into “isolating columns” fixed to her own body. RH – 1968

Pencil Mask, 1972

Nine Straps are tied around my head, three vertically, six horizontally. A pencil is attached at each point where the straps cross. All Pencils are about two inches long and reproduce the profile of my face in three dimension. I move my body rhythmically to and fro in front of a white wall. The pencils make marks on the wall; their image corresponds to the rhythm of my moments. RH – 1972


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