The movement of the physique via house: Rebecca Horn in Munich

German visible artist Rebecca Horn is fascinated by the physicality of the human physique, referencing its kinetic talents in sculptures, movies, performances, pictures and drawings which tackle a swish humanity of their very own.

A significant retrospective at Haus der Kunst in Munich, Germany, is uniting Horn’s eclectic and huge physique of labor, which spans six many years. From the Sixties works on paper, to the performances and movies of the Nineteen Seventies, Eighties’ mechanical sculptures and at this time’s installations, works collectively discover the connection between house, mild and sound.

All through, runs a wider cultural consciousness, with Horn’s frequent references to movies, literature and artwork omnipresent. In her early works, dance is the medium via which she expresses this creative mish-mash, as Horn views herself primarily as a choreographer. Later, the tantalisingly horrifying concept of the machine as an extension of the physique is recognised within the mechanical sculptures.

For Andrea Lissoni, creative director Haus der Kuns, the exhibition is a well timed one. ‘Following the solo exhibitions by Meredith Monk, Pan Daijing, and Liliane Lijn, Haus der Kunst continues its dedication to liveness in a rising digital world. Rebecca Horn is a visionary artist who levels the interaction of our bodies, machines, shifting pictures, and sound in new, distinctive and various languages which might be forward of their time. Whether or not shifting installations, motorised objects or human and non-human our bodies, Haus der Kunst is a particular stage for brand new, surprising and groundbreaking choreographies, continually reworking itself into a brand new residing organism.’