Rebecca Horn is a major representative of the contemporary German art world. Horn has been known for her performance works involving the wearing of feathers, horns, and mirrors.
Since her participation in the 1972 Document show in her 20s, she has energetically pursued a range of artistic activity that continues to tackle new territories of art, one after the other–beginning with kinetic sculpture as well as film, and continuing on to capture the fascination of a great number of people-audiences with an interest not only in visual art, but that include film and dance enthusiasts as well.
Her performances, which began in the late 1960s, sought to expand the functions of the human body, improve communications with others, and develop a rapport with mythical animals and nature. The devices that attached to the body and enhanced its physical perceptions were first used in performance, then eventually developed into independent, kinetic-mechanical sculptural works.
Later, in what amounted to over ten years of life in New York, Horn undertook the production of highly narrative, full-length films, and incorporated the sculptures and movements from her earlier work into this new context of film, transforming their significance.
Since the 1980s, after moving back to her home country of Germany, Horn’s work that directly confronts modern historical issues has been acclaimed for its ability to tie together personal experience and social memory.