REBECCA HORN INTRODUCTION OF WORKS - Galerie Thomas Schulte
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REBECCA HORN
INTRODUCTION OF WORKS
• Parrot Circle, 2011, brass, parrot feathers, motor
t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in
Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany)
has developed an autonomous, internationally renowned position beyond
all conceptual, minimalist trends. Her work ranges from sculptural en-
vironments, installations and drawings to video and performance and
manifests abundance, theatricality, sensuality, poetry, feminism and body
art. While she mainly explored the relationship between body and space in
her early performances, that she explored the relationship between body
and space, the human body was replaced by kinetic sculptures in her later
work. The element of physical danger is a lasting topic that pervades the
artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu-
tion to documenta 7 in 1982—has been called a martial work of art. The
monumental wheel expands slowly, but instead of feathers, its metal keels
are adorned with weapon-like arrowheads.
Having studied in Hamburg and London, Rebecca Horn herself taught at
the University of the Arts in Berlin for almost two decades beginning in
1989. In 1972 she was the youngest artist to be invited by curator Harald
Szeemann to present her work in documenta 5. Her work was later also
included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the
Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and
as part of Skulptur Projekte Münster (1997). Throughout her career she
has received numerous awards, including Kunstpreis der Böttcherstraße
(1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der
Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium
Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016)
and, most recently, the Wilhelm Lehmbruck Prize (2017). A first mid-
career retrospective of her work was organized in 1993 by the Guggen-
heim Museum, New York, traveling to the Stedelijk Van Abbemuseum,
Nationalgalerie Berlin, Kunsthalle Wien, Tate Gallery and Serpentine
Gallery, London, and the Musée de Grenoble. A second retrospective was
presented at the Hayward Gallery in London in 2005. Another retrospec-
tive took place at Martin-Gropius-Bau in Berlin in 2006. Rebecca Horn
has been living in Paris and Berlin since 1981, following dearly a decade
in New York. During 2019, two major exhibitions of her work took place
simultaneously at Centre Pompidou Metz and Museum Tinguely in Basel.
Concert for Anarchy, 1990
Piano, hydraulic rams and compressor
150 x 106 x 156 cm | 59 1/16 x 41 3/4 x 61 2/5 in
2,3 Installation at Tate Modern
BODILY EXTENSION
In Rebecca Horn’s first performances, the so-called Body Extensions, the
artist explores the equilibrium between body and space. The starting point
for these performances are transitory body sculptures, designed by Horn
as extensions of her own extremities as a means to extend the proportions
of her own body and thus change her self-perception. The performing
subject uses the specially constructed instruments in order to capture and
make the surrounding environment tangible, and to ultimately to conquer
and inhabit the space.
By contrast and in a reverse move, in Overflowing Blood Machine
(1970) she renders the mechanical pulsing of the inside of the body as a
circulating, functional process exemplified by our blood circulation. The
performing body is strapped into several plastic hoses through which
pumps a red liquid. The contrast between the pumping machine and the
stillness of the body generates a tension that will also become fundamental
in many of Horn’s later machine works—in which she exemplifies and
isolates a certain movement within a process.
White Body Fan, 1972 (photograph by
Achim Thode)
Silver gelatin print
80 x 60 cm | 31 1/2 x 23 5/8 in 4,5
above
Fan, 1970
Ink and crayon on paper
Framed: 48 x 38 x 4 cm | 18 9/10 x 15 x 1 3/4 in
left
Mechanical Bodyfan, 1973-74 (photograph by Achim Thode)
Silver gelatin print
80 x 60 cm | 31 1/2 x 23 5/8 in 6,7
above
Unicorn, 1968-69
Graphite on paper
Framed: 48 x 38 x 4 cm | 18 9/10 x 15 x 1 3/4 in
right
Unicorn, 1970 (photograph by Achim Thode)
Silver gelatin print
80 x 60 cm | 31 1/2 x 23 5/8 in 8,9
above
Untitled, 1968-69
Graphite and crayon on paper
Framed: 48 x 38 x 4 cm | 18 9/10 x 15 x 1 3/4 in
right
Overflowing Blood Machine, 1970
Glass, metal, plastic and water pump
167 x 72 x 43 cm | 65 3/4 x 28 11/32 x 17 in
Installation at Museum Tinguely, 2019 10,11
BERLIN-ÜBUNGEN IN NEUN STÜCKEN
In cooperation with Berliner Festspiele from 1974 to 1975, Rebecca Horn
produced the video Berlin-Übungen as staged performances for the cam-
era: Touching the Wall with Both Hands / Blinking / Feathers Dancing on
Shoulders / Grasping Unfaithful Legs / Two Little Fish Recalling a Dance
/ Touching Spaces while Reflecting / Shedding Skin between the Moist
Tongue Leaves / Cutting Hair with Two Pairs of Scissors at the Same
Time. These performances include oscillating explorations of space and
the body, an attempt to communicate with a parrot, and surreal experi-
ments with images and sound in a pre-war apartment in Berlin. The first
of the exercises begins as a survey of the room with the artist wearing
scissor-like gloves. While she paces up and down the room, the walls on
both sides are touched simultaneously. The exercises end with a radical
gesture by the artist: Horn cuts off her long hair using two pairs of scissors
in parallel, while the male voice-over speaks about the mating behavior
of male snakes.
Although mainly known as a contemporary visual artist, Rebecca
Horn has also worked in film, directing the movies Der Eintänzer (1978),
La ferdinanda: Sonate für eine Medici-Villa (1982) and Buster’s Bedroom
(1990).
right
Measure Box, 1970
Ash wood, screws, steel
375 x 365 x 400 cm | 147 2/3 x 143 2/3 x
157 1/2 in
following pages
What Could Make Me Feel This Way (A)
1993
Laminated and bent wood
280 x 560 x 485 cm | 9.2 x 18.4 x 15 ft
12,13 Collection Sprengel Museum, Hanover
above
Finger Gloves, 1972
Fabric, wood and metal
97 x 21 x 4 cm | 38 3/16 x 8 1/4 x 1 9/16 in
right
Finger Gloves, 1972 (photograph by
Achim Thode)
Gelatin silver print
80 x 60 cm | 31 1/2 x 23 5/8 in
following pages
Scratching Both Walls at Once, 1974-75
Fabric, wood and metal
14,15 7 x 174 x 4.5 cm | 2 3/4 x 68 1/2 x 1 3/4 inBIRDS AND OTHER ANIMALS
Many of Rebecca Horn’s works reference or mimic animals. Cockfeather
Mask (1973) comprises a narrow strip of fabric-covered metal bent into
the shape of a facial profile and covered with glossy black feathers. Straps,
which fasten around the head, meant the piece could be worn over the face
like a mask. When worn, the feathers protruded from the performer’s head
at a perpendicular angle. The performer could only see through either side
of the feathered protrusion, which also covered the nose and mouth and
extended under the chin. Writing in 1973, Horn explained how interper-
sonal interaction was central to this piece: “Slowly I turn my face to the
person standing opposite me and begin to stroke them with my feathered
profile. The feathers entirely fill the space between our faces and restrict
my vision. I can only see the face opposite me when I turn my head to the
side, and look with just one eye, like a bird.”
As one of the youngest artists to ever participate in documenta in
1982, Horn presented her Peacock-Machine, an expansive, motorized
sculpture installed in the pavillon of Kassel’s palace garden, which per-
forms cyclical movements. Slowly spreading out and collapsing, the pea-
cock seems to expand and contract its tail again and again. Its recur-
rent states of tension and relaxation—of energies that build up and run
down—seem to reproduce themselves endlessly.
In the installation Ballet of the Woodpeckers (1986), small hammers
tap mirrors like birds startled by their own reflection. It was originally
installed in a psychiatric hospital in Vienna. Long-term patients experi-
enced it alongside external visitors. To recall the presence of the patients
when the work was moved, Horn added two glass funnels filled with mer-
cury. The liquid metal shivered in response to the vibrations of footsteps.
Mercury is highly toxic and was later replaced by reflective foil for safety
reasons.
Cockfeather Mask, 1973
Feathers, metal and fabric
61 x 15 x 33 cm | 24 x 6 x 13 in
Tate Collection 18,19Die sanfte Gefangene
(La douce prisonnière), 1978
Ostrich feathers, wood, metal
construction, motor, pastels and
acrylic paint on paper
200 x 83 x 32 cm | 78 3/4 x 33 x 13 inabove and right
Peacock Machine, 1979-80
Aluminum, steel, electric motor
H 280 cm, Ø 560 cm | H 110 5/8, Ø 220 1/2 in
following pages
Ballet of the Woodpeckers, 1986
Glass, metal, tranformers, motors and egg
Dimensions variable
22,23 Tate CollectionKINETIC SCULPTURES
Following the physical experience of Rebecca Horn’s performances with
body extensions, masks and feather objects, in the 1970s came the first
kinetic sculptures, which also featured in her films. The objects used and
specially made for her installations—such as violins, suitcases, batons,
ladders, pianos, feather fans, metronomes, small metal hammers, black
water basins, spiral drawing machines and huge funnels—together build
the elements for kinetic sculptures that are liberated from their defined
materiality. They are continuously transposed into ever-changing met-
aphors touching on mythical, historical, literary and spiritual imagery.
Choir of the locusts, 1991
35 typewriters, white stick, motors
60 x 350 x 270 cm | 23 5/8 x 137 4/5 x 106 1/3 in 26,27CONCERT FOR ANARCHY
Concert for Anarchy (1990) is one of a series of mechanised sculptures
Horn began making in the late 1970s using musical instruments. A grand
piano is suspended upside down from the ceiling by heavy wires attached
to its legs. It hangs solidly yet precariously in mid-air, out of reach of a
performer, high above the gallery floor. A mechanism within the piano is
timed to go off every two to three minutes, thrusting the keys out of the
keyboard in a cacophonous shudder. The keys, ordinarily the point of
tactile contact with the instrument, fan disarmingly out into space. At the
same time, the piano’s lid falls open to reveal the instrument’s harp-like
interior, the strings reverberating at random. This unexpected, violent
act is followed between one and two minutes later by a retraction—the lid
closes and the keys slide back into place, tunelessly creaking as they go.
Over time, the piano repeats the cycle. A mounting tension to the moment
of release is followed by a slow retreat to stasis as the piano closes itself
up like a snail withdrawing into its shell.
previous pages
Concert for Anarchy, 1990
Piano, hydraulic rams and compressor
150 x 106 x 156 cm | 59 1/16 x 41 3/4 x 61 2/5 in
Installation at Tate Modern, 2019
left
Peter‘s Violin, 1991
Violin, steel, electronics, motor, metal
violin bow
25 x 115 x 83 cm | 31 1/2 x 23 5/8 in 30,31BEES’ PLANETARY MAP
Sixteen inverted straw baskets, which look like beehives, are suspended
from the ceiling at various heights. Inside each basket a lightbulb is in-
stalled, casting pools of light on the floor. On the floor beneath each basket
is a circular glass mirror which now and then swivels, catching the light
and reflecting it in constantly moving circles and oblongs on the walls
and ceiling. Throughout the room the recording of the insistent buzzing
of a swarm of bees can be heard. Additionally, every few minutes a small
rock attached to a cable falls from the ceiling to hit a cracked mirror on
the floor, around which are strewn pieces of broken glass. This repetitive,
destructive act is intended to be as disturbing as it is raw and cathartic.
On one wall a poem by Horn could be found, providing an excellent textual
counterpoint: “The bees have lost their equilibrium / They swarm in dense
clouds high above / Their luminous basket hives are deserted / One of their
centres is being destroyed forever anew....”
The extravagant sculpture The Turtle Sighing Tree (1994), made
by Horn a few years prior, is made from copper tubes that fan out in all
directions like the meandering branches of a tree. Copper funnels are
mounted on the ends of the tubes, from which pour the woeful voices of
people who talk about their worries in various languages. From time to
time, The Turtle Sighing Tree begins to shake and the voices become
silent, only to start up again after a pause.
left
Bees’ Planetary Map, 1998
16 straw baskets, wire, motors, broken
mirror disk, shattered mirror glass, metal
rods, wooden stick, rock, sound, lights
Dimensions variable
following pages
The Turtle Sighing Tree, 1994
Copper tubes, copper funnels, sound
equipment, steel construction, motor
Dimensions variable 32,33SITE-SPECIFIC WORKS
Some of the highlights of Rebecca Horn’s impressive, almost five-de-
cades-spanning career include monumental, site-specific installations.
These alone could solidify her place among the glimmering constellations
of art history. Her Concert in Reverse (1997), in Münster, brought new
meaning to the phrase “revelation in execution,” as the chosen location
for the installation, an old municipal tower, was revealed to have been
an execution site used during the Third Reich. In Tower of the Nameless
(1994), Horn constructed a monument in Vienna that paid homage to
voiceless, formless Balkan refugees by populating the space with mechan-
ically playing violins.
In a historic tram station in the now defunct electricity plant E-Werk
in Weimar, visitors can view the installation Concert for Buchenwald,
which Horn realized in 1999. Old, used musical instruments and their
accompanying leather cases are piled atop a section of railway tracks.
It is a silent concert for Buchenwald; each violin, mandolin and guitar
symbolises a personal fate. But the music and the singing, the people, are
missing. The installation was specially created for the 150-square-metre
windowless room inside the former tram station. The work is thus inex-
tricably tied to this place, as Buchenwald is to the city of Weimar.
Tower of the Nameless, 1994
Ladders, violins, motors, electronic com-
ponents
Dimensions variable
Kestner Gesellschaft Hanover 36,37HIGH NOON
Installed at eye level, two Winchester rifles face each other while turning
slowly and unpredictably, occasionally also focusing on the visitors. The
soft humming of the electric motors stops; when finally pointing towards
each other, the guns come to a standstill. After a moment of tense silence,
they unload and shoot at each other with a blood-red fluid pumped from
two large glass funnels, which hang from the ceiling and look like over-
sized breasts. A sharp bang accompanies the ejection of liquid, which
splatters not only on the opponent, but also on the floor and into a gutter.
Then the rhythmic play of the machines begins anew: the rifles spin, a
serrated metal rod knocks rhythmically on one of the big funnels, the
teeth of the saw at the end of the gutter cut into the wall.
The poem written on the wall speaks about the deepest part of the
ocean and the most radiant light of the sun collected in the Moon Funnels;
of the energy of two dancing creatures, who, suddenly facing each other,
release their powers at the highest moment of tension in order to meet
for a second in the same eternity, opening the pores and discharging their
bloodstreams, bringing each other to the brink of bursting. Not losing a
drop of volcanic remains, the Passion River flows back into the infinite
ocean...
In Paradiso, created specifically for the Solomon Guggenheim Mu-
seum on the occasion of Horn’s 1993 retrospective there, two swollen,
breast-like funnels are suspended high above the museum’s rotunda. With
metronome-like regularity, a milky liquid is excreted from the breasts and
falls into the pool far below, creating an almost palpable tension in which
the entire building seems to hold its breath in anticipation of the next drip.
left
High Noon, 1991
2 Winchester rifles, metal rod, 3 motors,
2 glass funnels, 2 pumps, plastic hoses,
speakers, circular saw, control, iron gut-
ter, paint, poem
Dimensions variable
Installation at Kunstmuseum Wolfsburg
following pages
The Inferno-Paradiso Switch, installation
at Solomon Guggenheim Museum, 1993 38,39PAINTING MACHINES
Characteristic for Rebecca Horn’s apparatuses are that they all show
almost human traits in their futile and never ending actions. This also
applies to her “Painting Machines,” which sprinkle and throw random,
“automatic drawings” onto the walls. One of these projects is Dancing
Canvases (1989), in which automatically controlled brushes throw paint
onto five rotating canvases that automatically turn into “all over” paint-
ings.
Between The Knives The Emptiness (2014) is an example of Rebecca
Horn’s erotically-charged “assemblages,” which with their fragile struc-
tures and unstable balance symbolize the exteriority and vulnerability of
human existence, in which different external forces overlap each other.
Without respite, sharp knives come closer to the soft brush, move gently
between the soft hairs, before carefully retreating again. Unerringly, the
cycles in these “repeat machines” continue; they appear caught up in their
patterns, in the way that the figures in the artist’s films mechanically per-
form fragmentary programs and act out their obsessional neuroses. In the
kinetic sculptures the slowness of movement, the permanent delay, the
moment of retardation creates a constant tension that charges the space
with energy. Accordingly, the title refers explicitly to the “empty space
between the knives,” which forms the work’s invisible centre: It represents
a “magnetic field,” an area from which and around which space develops.
right
Dancing Canvases, 1989
Installation: canvases, brushes, pigment,
motor
42,43 Dimensions variableBetween The Knives The Emptiness, 2014 3 knives, steel construction, electronic device, motor, brush, brass 255 x 180 x 150 cm | 100 1/2 x 70 3/4 x 59 in 44,45
above and right
Yin and Yang Drawing The Landscape,
2004
2 Chinese brushes, motor, anthracite-
colored and white sand
H 400 cm, Ø 200 cm | H 157 1/2 in, Ø 78
3/4 in
following pages
Flying Books Under Black Rain Painting,
2014
Glass funnel, black ink, 3 books, metal
constructions, motors
Dimensions variable
46,47 Installation at Museum Tinguely, 2019Am Zauberberg, 2013
Acrylic, pencil on paper
52,53 Framed: 207 x 175 cm | 81 1/2 x 69 inButterfly at the Zenith, 2009 Mixed media 158 x 78 x 19 cm | 62 1/4 x 30 2/3 x 7 1/2 in 54,55
Eagle in the Half Moon, 2002
Eagle feathers, metal construction, motor
56,57 50 x 108 x 70 cm | 19 2/3 x 42 1/2 x 27 1/2 inNEW SCULPTURE
As if moved by a light breeze, twelve golden spears sway, barely percep-
tibly, back and forth. Balancing on their tips, they are being moved by an
invisible machinery concealed underneath the black pedestal. This new
work by Rebecca Horn was given to the Duisburg Lehmbruck-Museum
for a comprehensive exhibition in 2017 and bears the title Breath Body.
The work is part of a new series, which Horn calls “Bodies of Breath.”
In relation to previous works within her oeuvre, the artist describes this
new series as follows: “It’s a fresh start, a whole new process, and I’m de-
lighted to have created sculptures that are not descendants or extensions
of previous work. And that makes me feel like I’m on the threshold of a
new phase of work.”
right
Dance of a Pirouette, 2017
Brass discs, brass rods, steel, electronics,
motors
300 x 300 x 320 cm
118 1/10 x 118 1/10 x 126 in
following pages
Breath Body, 2017
Brass rods, electronics, motors
600 x 300 x 362 cm
58,59 237 x 118 1/10 x 142 1/2 inBIOGRAPHY SELECTED COLLECTIONS
Born Art Gallery of New South Wales, Australia
1944 in Michelstadt, Germany; lives and works in Berlin, Germany and Paris, France Berlin National Gallery, Germany
Castello di Rivoli Museum of Contemporary Art, Turin, Italy
Education Centre for International Light Art, Unna, Germany
1963-70 Hochschule für Bildende Künste, Hamburg, Germany Centre Georges Pompidou, Paris, France
1971 St Martin’s School of Art, London, UK Hamburger Bahnhof, Berlin, Germany
Harvard Art Museums, Cambridge, USA
Grants and Awards Irish Museum of Modern Art, Dublin, Ireland
2017 Wilhelm-Lehmbruck-Preis, Duisburg, Germany Kunstmuseum Bonn, Germany
2016 Member of the Orden Pour le Mérite für Wissenschaften und Künste, Berlin, Germany Kunstmuseum Stuttgart, Germany
2011 Grande Médaille des Arts Plastiques, Académie d’Architecture de Paris, France Kunstmuseum Wolfsburg, Germany
2010 Premium Imperiale, Tokyo, Japan Kunstsammlung Nordrhein-Westfalen, Germany
2010 Hessischer Kulturpreis, Wiesbaden, Germany Lehmbruck Museum Duisburg, Germany
2009 Alice Salomon Poetik Preis, Berlin, Germany MACBA, Barcelona, Spain
2007 Alexej von Jawlensky-Preis der Landeshauptstadt Wiesbaden, Germany MOCA, Los Angeles, USA
2006 Piepenbrock Preis für Skulptur, Berlin, Germany MoMA, New York, USA
2005 Hans-Molfenter-Preis, Stuttgart, Germany Musée d’Art Moderne la Ville de Paris, France
2004 Barnett and Annalee Newman Award, New York, USA Museo Reina Sofía, Madrid, Spain
1992 Kaiserring der Stadt Goslar, Germany Museum Folkwang, Essen, Germany
1992 Medienkunstpreis Karlsruhe, Germany Museum of Contemporary Art Chicago, USA
1988 Carnegie Prize at Carnegie International, Pittsburgh, USA Museum of Contemporary Art, Los Angeles, USA
1986 Arnold-Bode-Preis, Kassel, Germany Museum Ludwig, Cologne, Germany
1979 Kunstpreis der Böttcherstraße, Bremen, Germany Museum of Fine Arts, Houston, USA
1977 Kunstpreis der Glockengasse, Cologne, Germany Museum Wiesbaden, Germany
1975 Deutscher Kritikerpreis, Germany Neue Nationalgalerie Berlin, Germany
San Francisco Museum of Modern Art, San Francisco, USA
Teaching Positions Solomon R. Guggenheim Museum, New York, USA
1989 Begins teaching at the Hochschule der Künste, Berlin, Germany Stedelijk Museum, Amsterdam, The Netherlands, USA
1974 California Art Institute, University of San Diego, USA Tate Gallery, London, UK
Van Abbenmuseum, Eindhoven, The Netherlands
Walker Art Center Minneapolis, USA
Zentrum für Kunst und Medientechnologie, Karlshruhe, Germany
62,63SELECTED SOLO EXHIBITIONS 2008
2020 Studio Trisorio, Rome, Italy
Galerie Thomas Schulte, Berlin, Germany Cosmic Maps, Sean Kelly Gallery, New York, USA
L’Amour cosmique - fou du faucon rouge, Galerie Lelong, Paris, France
2019 Love & Hate, Museum der Moderne Rupertinum, Salzburg, Austria
Body Fantasies, Museum Tinguely, Basel, Switzerland
Theatre of Metamorphoses, Centre Pompidou - Metz, France 2007
Jupiter im Oktogon, Museum Wiesbaden, Wiesbaden, Germany
2018 Studio Trisorio, Naples, Italy
Gabinet, Es Baluard Museu d’Art Modern | Contemporani de Palma, Palma, Spain
Glowing Core, Cathedral Forum St. Hedwig, Berlin, Germany 2006
Passing the Moon of Evidence, Studio Trisorio, Naples, Italy Lotusschatten, Zentrum für Internationale Lichtkunst, Unna, Germany
Zeichnungen, Skulpturen, Installationen, Filme 1964-2006, Martin-Gropius-Bau, Berlin, Germany
2017 Fondation Beyeler, Basel, Switzerland
Hauchkörper (Breathing Bodies), Lehmbruck Museum, Duisburg, Germany Time Goes By, Drill Hall Gallery, Canberra, Australia; RMIT Gallery, Melbourne, Australia
2016 2005
Tate Film Pioneers: Rebecca Horn: Films, 1970 - 2016, Tate Modern, London, UK Bodylandscapes, Galerie de France, Paris, France; Hayward Gallery, London, United Kingdom; Fundação Centro
Cultural de Belém, Lisbon
2015 Moon Mirror, St. Paul’s Cathedral, London, UK
Glowing Core, La Llotja, Palma de Mallorca, Palma, Spain Kunstmuseum Stuttgart, Stuttgart, Germany
The Vertebrae Oracle, Studio Trisorio, Naples, Italy Time Goes By, Dunedin Public Art Gallery, Dunedin, New Zealand
Works in Progress, Harvard Art Museums, Cambridge, USA Twilight Transit, Sean Kelly Gallery, New York, USA
The Warriors as Will O’ the Wisps, Kunsthaus Zurich, Switzerland
2004
2014 Bodylandscapes, K20 Kunstsammlung, Düsseldorf, Germany
Black Moon Mirror, Galerie Thomas Modern, Munich, Germany Light imprisoned in the belly of the whale, Es Baluard, Palma, Mallorca, Spain
des arts plastiques au cinéma, 7èmes Journées Internationales du Film sur l’Art, Louvre, Paris, France Moon Mirror, St. Johannes-Evangelist-Kirche, Berlin, Germany
Between the Knives the Emptiness, Galerie Lelong, Paris, France Galleria Trisorio, Naples, Italy
The Vertebrae Oracle, Sean Kelly Gallery, New York, USA
2003
2013 Belle du Vent, Galerie de France, Paris, France
A Chemical Wedding in Istanbul, GALERIARTIST, Istanbul, Turkey Moon Mirror, Església del convent de Santo Domingo, Pollença, Mallorca, Spain
The Suitcase of Escape, The Multimedia Art Museum Moscow, Russia Tate Liverpool, Liverpool, UK
Galante de la noche, “Les soirées nomades,” Fondation Cartier pour l’art contemporain, Paris, France
2012
Capuzzelle, Studio Trisorio, Naples, Italy 2002
Federn tanzen auf den Schultern, Weserburg Museum, Bremen, Germany Installation with Jannis Kounellis, Galleria Nova Pesa, Rome, Italy
Passage Through Light, National Gallery of Modern Art (NGMA), New Delhi, India Light imprisoned in the belly of the whale, Palais de Tokyo, Paris, France
Rebecca Horn & Guests, Maribor Art Gallery, Maribor, Slovenia Heartshadows, Sean Kelly Gallery, New York, USA
Spiriti di Madreperla, Installation Piazza Plebescito, Naples, Italy
2011
Ravens Gold Rush, Sean Kelly Gallery, New York, USA 2001
Blue Bath, Galerie Jamileh Weber, Zürich, Switzerland
2010 The Burning Bush, Galerie de France, Paris, France
Rebellion in Silence, Centro Cultural Banco do Brasil, Rio de Janeiro and São Paulo, Brazil Irish Museum of Modern Art, Dublin, Ireland
2009 2000
Fata Morgana, Fondazione Bevilacqua, Galleria di Piazza San Marco, Venice, Italy Carré d’Art Musée d’Art Contemporain, Nîmes, France
Peacock-Sunrise, Galleria Marie-Laure Fleisch, Rome, Italy Sighing Stones, Galerie de France, Paris, France
Rebellion in Silence. Dialogue between Raven and Whale, Museum of Contemporary Art, Tokyo, Japan 64,651999
SELECTED GROUP EXHIBITIONS
Piccoli Spiriti Blu, Light Installation, Turin, Italy 2018
Give Time Goes By, Center for Contemporary Art, Ujazdowski Castle, Poland Beyond Borders, Boghossian Foundation, Brussels, Belgium
The Colonies of Bees Undermining the Moles’ Subversive Effort Through Time – Concert for Buchenwald, Part L’envol, La Maison Rouge, Paris, France
1 Tram Depot, and Part 2 Schloss Ettersburg, Weimar, Germany The World on Paper, PalaisPopulaire, Berlin, Germany
Traces Ecrites, MLF | Marie - Laure Fleisch, Ixelles, Belgium
1998
Bees’ Planetary Map, Marian Goodman Gallery, New York, USA 2017
Mirror of the Night, Stommeln Synagogue, Cologne, Germany Entering the Landscape, Plug In Institute of Contemporary Art, Winnipeg, Canada
Tailleur du Coeur, Galerie de France, Paris, France Kairos Castle. The Art of the Moment, Kasteel van gaasbeek, Lennik, Belgium
Restless Gestures, National Museum of Art, Architecture and Design, Oslo, Norway
1997 Uma Fresta De Possibilidade, Fórum Eugénio de Almeida, Évora, Portugal
Concerto dei Sospiri, La Biennale di Venezia, Venice, Italy
Les Délices des Evêques & Concert in Reverse, Skulptur Projekte Münster, Westfälisches, Landesmuseum für 2016
Kunst - und Kulturgeschichte, Munster, Germany An Der Oberfläche: From Rodin to de Bruyckere, Lehmbruck Museum, Duisburg, Germany
The Glance of Infinity, Kestner Gesellschaft, Das Neue Haus, Hannover, Germany The Body Extended: Sculpture and Prosthetics, Henry Moore Foundation, Leeds, UK
Lines of Passage, Municipal Art Gallery of Mytilene, Mytilene, Greece
1996 Seeing Round Corners, Turner Contemporary, Margate, Kent, UK
Sighing Stones, Galerie Franck & Schulte, Berlin, Germany
2015
1995 By the Book, Sean Kelly Gallery, New York, USA
Les Funérailles des instruments, Galerie de France, Paris, France Making Traces, Tate Modern, London, UK
Musée de Grenoble, Grenoble, France Saint - Louis de la Salpêtière, Paris, France What We Call Love, Irish Museum of Modern Art, Dublin, Ireland
1994 2014
Bibliothek des Sibirischen Raben, Galerie König, Vienna, Austria Spuren der Moderne, Kunstmuseum Wolfsburg, Wolfsburg, Germany
Neue Nationalgalerie, Berlin, Germany; Kunsthalle Wien, Wien, Austria; Tate Gallery, London, United King- 7émes Journées Internationales du Film sur l’Art, Lourve, Paris, France
dom; Serpentine Gallery, London, UK Art or Sound, Fondazione Prada, Venice, Italy
Tower of the Nameless, Naschmarkt, Vienna, Austria 50 Years: Living with Art, Galerie Thomas Modern, Munich, Germany
The Turtle Sighing Tree, Marian Goodman Gallery, New York, USA
2013
1993 Meret Oppenheim parle à Annette Messager, Rebecca Horn, Judith Hopf, Galerie de France, Paris, France
Solomon R. Guggenheim Museum, New York; Stedelijk Van Abbesmuseum, Eindhoven, The Netherlands On Nature, Sean Kelly Gallery, New York, USA
1992 2012
El Rio de la Luna, Fundació Espai Poblenou and the Hotel Peninsular, Barcelona, Spain Art is Liturgy, Kolumba Museum, Cologne, Germany
Mayor Gallery, London, UK TRANSART, Festival zeitgenössischer Kultur in cooperation with Museion Bozen, Bolzano, Italy
La Lune Rebelle, Galerie de France, Paris, France
2010
1991 Art on Paper 2010, Weatherspoon Art Museum, Greensboro, North Carolina, USA
Neue Installationen, Museum für Gegenwartskunst Basel, Switzerland Encounter Stage: Indoors and Outdoors, KunstGraten Graz, Graz, Austria
Chor der Heuschrecken I & II, Galerie Franck und Schulte, Berlin, Germany Everything is Connected, Castello di Rivoli, Turin, Italy
Filme 1978-1990, Kestner-Gesellschaft, Hanover, Germany I Love You, Aros Kunstmuseum, Aarhus, Denmark
High Moon, Marian Goodman Gallery, New York, USA Islands Never Found, Musée d’Art Moderne, Saint-Etienne, France
Pelaires - Centre Cultural Contemporani Palma de Mallorca, Mallorca, Spain
1990 Just Love Me, Musée d’Art Moderne Grand - Duc Jean, Luxembourg
Diving through Buster’s Bedroom, MOCA, Los Angeles USA Outside the Box: Edition Jacob Samuel, 1988-2010, The Hammer Museum, Los Angeles, USA
Kafka’s Amerika, Marian Goodman Gallery, New York, USA The Private Museum, Galleria d’Arte Moderna, Bergamo, Italy
Vehbi Koc Foundation Contemporary Art Collection, Arter, Istanbul
Surreal House, Barbican Art Gallery, London, UK
Tenir, debout, Musée des Beaux-Arts de Valenciennes, Valenciennes, France 66,67Thrice Upon a Time, Magasin 3 Stockholm Konsthall, Stockholm, Sweden Tokyo Blossoms, Hara Museum of Contemporary Art, Tokyo, Japan
Transformation. Aus eigener Sammlung, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein
2009 Walking and Falling, Magasin 3, Stockholm Konsthall, Stockholm, Sweden
1968. Die Große Unschuld, Kunsthalle Bielefeld, Bielefield, Germany You’ll Never Know, Harris Museum and Art Gallery, Preston, UK
60 Jahre–60 Werke: Kunst aus der Bundesrepublik Deutschland, Martin-Gropius-Bau, Berlin, Germany The New Art Gallery, Walsall, UK
Art of Two Germanys / Cold War Cultures, LACMA, Los Angeles, USA
aus/gezeichnet/zeichnen, Akademie der Künste, Berlin, Germany 2005
elles@centrepompidou, Centre Pompidou, Paris, France The Artist’s Body. Then and Now, Centre d’Art Contemporain, Geneva, Switzerland
Drawings Anyone?, Denver Art Museum, Denver, USA Behind the Facts. Interfunktionen 1968–75, Kunsthalle Fridericianum, Kassel, Germany
Kunst und Kalter Krieg: Deutsche Positionen 1945–1989, Germanisches, Nationalmuseum, Nuremberg, Ger- Bewegliche Teile. Formen des Kinetischen, Museum Tinguely, Basel, Switzerland
many (travelling to Deutsches Historisches Museum, Berlin, Germany) Körper–Leib–Raum, Skulpturenmuseum Glaskasten Marl, Marl, Germany
Kunst und Öffentlichkeit, Neuer Berliner Kunstverein, Berlin, Germany Kunst und Cover / Lettre International, Museum für Angewandte Kunst, Frankfurt a.M., Germany
Re/Formations: Disability, Women, and Sculpture, The National Institute for Art and Disabilities, Richmond, USA (my private) Heroes, MARTa Herford, Herford, Germany
Taswir–Islamische Bildwelten und Moderne, Martin-Gropius-Bau, Berlin, Germany Sammel-Leidenschaften, Neues Museum Weserburg, Bremen, Germany
Schattenspiel. Schatten und Licht in der zeitgenössischen Kunst, Kunsthalle Kiel, Kiel, Germany
2008 UdK Berlin–Fakultät Bildende Kunst, Berlinische Galerie, Berlin, Germany
40 Years Video Art in Germany, Sofia Art Gallery, Sofia, Bulgaria
Art/Tapes/22, University Art Museum, College for the Arts, Long Beach, USA 2004
Biennale of Sydney 2008, Sydney, Australia Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, Spain
Die verborgene Spur–Jüdische Wege durch die Moderne, Felix-Nussbaum-Haus, Osnabrück, Germany Ordering the Ordinary, Timothy Taylor Gallery, London, UK
Exquisite Corpse: IMMA Collection Exhibition, Irish Museum of Modern Art, Dublin, Ireland The Early Decades from the EMST collection, National Museum of Contemporary Art, Athens, Greece
Kunstmaschinen–Maschinenkunst, Museum Tinguely, Basel, Switzerland ZOO STORY, Fisher Landau Center for Art, Long Island City, USA
Sound of Art, Museum der Moderne Salzburg, Austria
traces du sacré, Centre Pompidou, Paris, France (travelling to Haus der Kunst, Munich, Germany) 2003
Visite–Von Gerhard Richter bis Rebecca Horn, Kunst-und Ausstellungshalle, Bonn, Germany Die Neue Kunsthalle, Kunsthalle Mannheim, Mannheim, Germany
WACK! Art and the Feminist Revolution, P.S. 1, Long Island City, New York, USA From Broodthaers to Horn, Van Abbemuseum, Eindhoven, The Netherlands
Zerbrechliche Schönheit. Glas im Blick der Kunst, Museum Kunst Palast, Düsseldorf, Germany Live Culture, Tate Modern, London, UK
Phantom der Lust, Neue Galerie, Graz, Austria
2007
Dalla terra alla luna–metafore di viaggio (parte I), Museo d’arte contemporanea Castello di Rivoli, Turin, Italy 2002
Fédérale d’Allemagne, Bozar–Palais des Beaux-Arts, Brussels, Belgium 100 Artists See God, Independent Curators International, New York, USA
Fondation Beyeler: EROS in der Kunst der Moderne, BA-CA Kunstforum, Vienna, Austria Drehen, Kreisen, Rotieren, Kunstmuseum Heidenheim, Germany
Kunstmaschinen–Maschinenkunst, Schirn Kunsthalle, Frankfurt am Main, Germany Tempo, Museum of Modern Art, New York, USA
Lights, Camera, Action: Artists Films for the Cinema, The Whitney Museum of American Art, New York, USA
Poetry in Motion, Galerie Beyeler, Basel, Switzerland 2001
Pontus Hultén–Künstler einer Sammlung, hlmd–Hessisches Landesmuseum, Darmstadt, Germany Celebrating a Decade, Irish Museum of Modern Art, Dublin, Ireland
Rouge baiser, FRAC–Pays de Loire, Carquefou, France Clench Clench Flinch, Paul Rodgers/9W, New York, USA
Ver bailar, Centro Andaluz de Arte Contemporaneo, Sevilla, Spain
Vertigo, MAMbo–Museo d’Arte Moderna di Bologna, Bologna, Italy 2000
WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles, USA Between Cinema and a Hard Place, Tate Modern, London, UK
You’ll Never Know, Tullie House Museum and Art Gallery, Carlisle, UK Regarding Beauty, The Hirshhorn Museum and Sculpture Garden, Washington DC, USA (travelling to Haus
der Kunst, Munich, Germany)
2006
All the Best, Singapore Art Museum, Singapore
Artists See God, The Contemporary Jewish Museum, San Francisco, USA
A Short History of Performance IV, Whitechapel Art Gallery, London, UK
Busy going crazy, La Maison Rouge, Paris, France
Concepts for A Collection, Exhibition Centre of Centro Cultural de Belém, Brazil
Kunst und Photographie, Photographie und Kunst, Galerie Bernd Klüser, Munich, Germany
The Subverted Object, Ubu Gallery, New York, USA
68,69Publisher Galerie Thomas Schulte GmbH Charlottenstraße 24 D-10117 Berlin Tel.: 0049 (0)30 20 60 89 90 www.galeriethomasschulte.de © 2020 the artist, the photographers and Galerie Thomas Schulte
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