PRINT October 1984


WITH THE WORK OF Rebecca Horn one must pay attention to the references to the conditions of her own life without losing sight of the symbolic role of such visual communication. Her strength lies in her recognition of both the primacy of experience and the interdependence between a relationship with the self and a relationship with the world. She demonstrates that art needs to be understood not only in terms of formal and historical structures, but also in terms of the subject matter itself. Such a subjective dimension, which goes beyond most “abstractions” (usually revealed as mystifying and idealizing), recurs systematically in her work.

One might say that a Proustian infatuation lingers in Horn’s work, pushing her, from 1968 on, to express her, inner world with increasing intensity, through storylike images and memories translated into photographs, drawings, writings, videotapes, and

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