Rebecca Horn; Tailleur Du Coeur, 1998
“Rebecca Horn is one of the most influential post War artists after her mentor Joseph Beuys. Her work spans feature length films, sculpture and installation to drawing and performance. There is a language that connects all these forms of expression and this set of subtle prints captures something of this language. Like her contemporary Anselm Kiefer she has a fascination with the struggle of consciousness to grasp the nature of existing between the world of ideas and our sensations of the material world. You could say this is the core issue for most philosophy from the Upanishads to Plato and on to Heidegger. The plastic arts have however become a significant site for pushing these perennial problems forward and making them concrete and experiential rather than purely theoretical.(.......)
Rebecca Horn is also known for her multiple jointed mechanical pendulums which scratch out drawings on paper placed on the floor. Again the drawings seem to be blindly groping to capture meaning.
This portfolio includes 12 etchings that equate to exactly this kind of scrabbling and 16 short texts that sometimes seem to be instructions for bodily engagement and sometimes just describe some sensual encounter between objects and or body parts and the world beyond. In some of the etchings there is a sense of staining of chance markings accumulated over time. Taken together this is an invitation to stop and enjoy our sensations of being. Unlike the severe philosophical traditions that place sensory knowing at the bottom of a hierarchy this work urges us to acknowledge the fundamental importance of being or becoming sensate in the material world.”(Anthony Bond, Art Gallery of NSW,Sydney, 2010)