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Don’t expect the creaks and groans of a lumbering Tinguely contraption: Horn’s delicate machinery sheds light on being human.
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In the last room are a pair of dancing stilettos ( American Waltz, 1990) and a series of ker-chinging typewriters ( La Lune Rebelle, 1991) that speak of tactile discovery. In this huge, body-machine complex – which in itself could serve as a metaphor for her oeuvre – mercury flows like liquid moonlight through glass-topped boxes in a vast network of ‘arteries’. Next door, El Rio de la Luna (The River of the Moon, 1992) sprawls across the floor. It flaps energetically, but can’t escape its cabinet. And in Schmetterling im Zenit (2009), a tiny machine brings to life a dead Blue Morpho butterfly, startling in its blueness. A wheel of owl feathers, Zen der Eule (Zen of the Owl, 2010), collapses then regroups, growing pinker and more lovely as the downy quills bunch up at the bottom. The feathery white Mechanical Peacock Fan (1981) mimics the bird’s mating dance as it rises and falls majestically. Three exquisite works introduce a show in which the artist’s early performance art serves as a backdrop to her ingenious creations. Courtesy: the artist, Museum Tinguely, Basel and ProLitters, Zurich photograph: Daniel SpehrĪppropriately for a museum showcasing the inspired, dada-influenced kinetic art of Jean Tinguely, ‘Body Fantasies’ puts the emphasis on Horn’s equally original machines. Rebecca Horn, Zen der Eule (Zen of the Owl), 2010, installation view, Museum Tinguely, Basel, 2019.
Instead, two parallel surveys, neither completely chronological, present the artist from different angles. When the Centre Pompidou-Metz and Basel’s Museum Tinguely discovered they were both planning a show of work by the German artist, now 75, they toyed with the possibility of a single exhibition spread across two spaces, but it was not to be. The video nods to the eye-slitting scene in Luis Buñuel’s Un Chien Andalou (1929), but in its combination of sensuousness, danger and a glint of humour, Cutting one’s hair with two pairs of scissors simultaneously (1974–5) is quintessential Horn. I sit riveted, ready to duck as she hacks away at her luxurious locks and the scissors move ever closer to her eyeballs. Tickets to the current show run a prohibitive $28 and come with the comforting knowledge that proceeds from an auction of works donated by the artists will go to Born This Way Foundation, a non-profit dedicated to empowering youth, co-founded by Lady Gaga and her mother, Cynthia Germanotta, who serve as advisors on the project.Rebecca Horn is cutting her hair, in close up. It’s very interesting for us as storytellers to try to incorporate that technology.”įlutter Phase 2 begins in the autumn, no word yet on what it will bring other than more installations, but with a different theme. With Flutter we wanted to bring immersive but interactive. “You have an artist’s realization and that kind of connects to you and interacts with you and you’re an actor with it.
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“We think it’s important to bring storytelling to the art world and make it more attractive and try to have a journey,” says Cabrera who, with Duverger, was behind similar interactive projections at New York’s Armory Week as well as a 72 foot long installation on the windows of the Port Authority Bus Terminal in Times Square last fall. “When I set out to do it, I contacted Slava Tsukerman, sought him out, met with him over coffee and told him what I wanted to do and he was into it.”ĭigital media duo Laia Cabrera and Isabelle Duverger offer Illusion, a space flooded with projections and mapping systems, carving shadows in bubbly or fire patterns that move in sync with the viewer.
“That film, I kind of held onto it as a resource in a way that was inspiring to me both in the narrative that's crazy and campy, it's an early gender fluid kind of film, and then the aliens and the sci-fi and this whole idea of euphoria that comes in sort of different ways,” says Collins of a project that is an iteration of an installation she did at New York’s New Museum with a lightning bolt doorway and a wall in red leather. In addition to those already mentioned, Flutter artists include Jillian Mayer, whose enormous chimes resonate throughout the space, Saya Woolfalk and her psychedelic projections, Leah Guadagnoli, Cyril Lancelin, Elise Peterson, Guillermo Santoma, Job Piston, the team of Charlap Hyman & Herrero, and Liz Collins, whose darkened space is overrun with day-glo film strips from the 1982 cult movie, Liquid Sky. To do so, he recruited curator Karen Robonovitz, a board member at both the Brooklyn Museum and The Bronx Museum of New York and founder of Digital Brand Architects, an influencer management firm.
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Taking a cue from Yayoi Kusama, whose mirror rooms are ubiquitous on the internet, Dowson decided to fill Flutter with eye-catching installations that would generate a wave of free publicity on social media.
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