Rebecca Horn

Galerie De France

Rebecca Horn has never stopped giving performances; her installations, no less than her films, are elaborately staged in time as well as space, and her poignantly humanized machines are also mechanized actors. In “La Lune rebelle-Concert Upside-Down” (both works 1991) the lead roles are accorded to a motley crew of manual typewriters and a grand piano. The once-proud typewriters, rendered obsolete (by electricity and word processors), hang bottoms up in the arcaded gallery entrance, intermittently clacking away and shifting their carriages with the help of a motorized hookup. At the end of the row, the “stars” of La Lune rebelle (Rebel moon)—an Underwood and a (German) Kappel—are suspended sideways in the fusional embrace of an electrical charge that mounts two wires between them and disappears with an amorous tremor above the watchful gaze of the mercury/moon on the floor below.


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