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Rebecca Horn

Two uneven drops of Mercury, 1985

Ink and lead pencil on paper
27 1/2 × 39 3/10 in
69.9 × 99.8 cm
Bidding closed
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About the work
Provenance
P
PIASA

27.5 x 39.3 in

Buyer responsible for Buyer’s Premium and any applicable taxes, including VAT.

27.5 x 39.3 in

Buyer responsible for Buyer’s Premium and any applicable taxes, including VAT.

Signature
Signed and dated lower right, titled lower left
Rebecca Horn
German, b. 1944
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Since the early 1970s, Rebecca Horn has been transforming everything she touches—the body; natural and manmade objects; cultural spaces; and historical sites—into visions of the human condition full of pathos, absurdity, and exquisite beauty. She began her celebrated career while convalescing in a hospital bed, where she concocted her “body-extensions.” Composed of prosthetic bandages and padded protrusions, these wearable sculptures were vehicles through which Horn explored the fraught, funny relationship between the body and the world. Later, she began building kinetic sculptures, stand-ins for the body, whose delicate, awkward motions uncannily reflect human behavior. The consequences of human behavior, especially that of the Nazis, are the focus of Horn’s poetic installations at historical sites worldwide. Both personal and universal, Horn’s work begins from within: “I use my body, I use what happens to me, and I make something.”

Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
Provenance
P
PIASA

27.5 x 39.3 in

Buyer responsible for Buyer’s Premium and any applicable taxes, including VAT.

27.5 x 39.3 in

Buyer responsible for Buyer’s Premium and any applicable taxes, including VAT.

Signature
Signed and dated lower right, titled lower left
Rebecca Horn
German, b. 1944
Follow

Since the early 1970s, Rebecca Horn has been transforming everything she touches—the body; natural and manmade objects; cultural spaces; and historical sites—into visions of the human condition full of pathos, absurdity, and exquisite beauty. She began her celebrated career while convalescing in a hospital bed, where she concocted her “body-extensions.” Composed of prosthetic bandages and padded protrusions, these wearable sculptures were vehicles through which Horn explored the fraught, funny relationship between the body and the world. Later, she began building kinetic sculptures, stand-ins for the body, whose delicate, awkward motions uncannily reflect human behavior. The consequences of human behavior, especially that of the Nazis, are the focus of Horn’s poetic installations at historical sites worldwide. Both personal and universal, Horn’s work begins from within: “I use my body, I use what happens to me, and I make something.”

Rebecca Horn

Two uneven drops of Mercury, 1985

Ink and lead pencil on paper
27 1/2 × 39 3/10 in
69.9 × 99.8 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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