Los Angeles

Rebecca Horn

Burnett Miller Gallery

“Diving through Buster’s Bedroom,” Rebecca Horn’s first West Coast solo exhibition, consisted of 18 large-scale mechanized sculptures created in close thematic relationship to her latest film, Buster’s Bedroom, 1989–90. Although it was possible to read the installation independently of the film—the sculptures’ references to reptilian metamorphosis, alchemy, and mechanical conjunction/dislocation are familiar themes in Horn’s oeuvre—the cross-pollination of ideas and symbology between the two media was crucial to Horn’s undertaking. The three-dimensional works not only reference ideas and characters in the film but, in many cases, are used as actual props. As a result, our usual free-associative reading of Horn’s work in relationship to her roots in body sculpture and Beuysian metaphysics was overridden by the dominant themes and narrative of the film itself.

Unfortunately, Buster’s Bedroom

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