Renowned personalities address the international relevance of Rebecca Horn’s transmedia work. The recently deceased artist – one of the most important of the post-war generation – blurs the boundaries between performance, film, sculpture, large-scale installation, drawing, text and photography, as well as between man, machine and nature: “I like it when my machines get tired. [...] They rest, they think, they wait.” An upside-down piano hanging from the ceiling, the keys bursting out noisily and abruptly, or a unicorn moving through a field of wheat – these are part of her poetic cosmos, as are peacock machines, funnels, bed frames or knives.
An idea she developed in 1986 together with Heiner Müller and Iannis Kounellis as a reflection on the border situation in Berlin, featuring works of art in East and West, led to the major project “The Finitude of Freedom” that was staged within the public space on both sides of the city after the fall of the Wall. Among the works to be shown are early film experiments and, for the first time, working material by Nana von Hugo for Buster’s Bedroom (1990).
With the support of the Moontower Foundation