Theatre of Metamorphoses 08.06.19 13.01.20 PRESS KIT

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Rebecca Horn , 1978. Rebecca Horn Workshop © Rebecca Horn / Adagp, Paris, 2019. Theatre of metamorphoses 08.06.19 13.01.20 PRESS KIT

#rebeccahorn centrepompidou-metz.fr Rebecca e Gefangene Horn, Die [La san douce prisonnière]

REBECCA HORN THEATRE OF METAMORPHOSES

CONTENTS

1. INTRODUCTION...... 5

2. REBECCA HORN...... 7

3. THE LAYOUT OF THE EXHIBITION...... 9

4. THE CATALOGUE...... 21

5. ARTISTS PRESENTED...... 23

6. ASSOCIATED PROGRAMME...... 24

7. IN RESONANCE WITH THE EXHIBITION THEATRE OF METAMORPHOSES

BODY FANTASIES AT THE MUSEUM TINGUELY OF BASEL...... 25

8. THE PARTNERS...... 27

9. IMAGES AVAILABLE TO THE PRESS...... 29

REBECCA HORN THEATRE OF METAMORPHOSES 1. INTRODUCTION REBECCA HORN THEATRE OF METAMORPHOSES From 8 June 2019 until 13 June 2020 GALERIE 2

From June 2019, the Centre Pompidou-Metz and Museum or Surrealism, resonate with contemporary history. The Tinguely in Basel present two parallel exhibitions devoted exhibition underlines the contribution of the artist’s to the artist Rebecca Horn, offering complementary spiritual peers who have nourished her imagination: Man insights into the work of an artist who is among the Ray, Marcel Duchamp, Meret Oppenheim and Constantin most extraordinary of her generation . The exhibition Brâncuşi. Her films are underpinned with a liberating Theatre of Metamorphoses explores in Metz the diverse and anarchic energy where poetry and humour often theme of transformation from animist, surrealist and defuse the underlying violence. Firstly, they aimed at mechanistic perspectives, placing special emphasis documenting her intimist and physical performances, on the role of film as a matrix within Horn’s work. then progressively set themselves free in order to become In the Body Fantasies show in Basel, which combines the privileged arena where the mechanised sculptures early performative works and later kinetic sculpture and the actors engaged in narratives which are both to highlight lines of development within her oeuvre, tragi-comic and surreal. the focus is on transformation processes of body and machine. From an intimist theatre inhabited by her injured body, she gradually opened up to the world in order to make The exhibition Theatre of Metamorphoses at the Centre it more sensitive to the tribulations and uprooting of Pompidou-Metz highlights the rich range of forms men displaced by conflicts and exile, as in her work of expression used by the artist. Following a lung Bee’s planetary map, with reference to exile and to illness, Rebecca Horn used the body as her preferred those “who have lost their stability”.Rebecca Horn material in her works. Through her taste for paradoxical puts up the “ movement of evasion” which is running associations, she tirelessly makes theatre out of the through the world, “a stability, a place where people oppositions which are inherent in our lives: subject and can retreive their identity” 1. She expresses the power object, body and machine, human and animal, desire of art, as a primordial expression of the life of the and violence, strength and infirmity, harmony and consciousness of oneself beyond all limits. This exhibition disorder. The living and the inert appear transfigured, is an invitation to share this discernible stage so that the object is endowed with a soul, the individual is it becomes for the visitor-spectator “the free space of characterised by his physical frailty and his capacity his own imagination” 2. to reinvent himself. From there is born the troubling strangeness of her work. Curators: Emma Lavigne Director of the Centre Pompidou-Metz – Rebecca Horn perpetuates in a unique manner, the Alexandra Müller, Head of research and of exhibitions, themes bequeathed to us by mythology and fairy- Centre Pompidou-Metz tales, such as metamorphosis into a hybrid or mythical creature, the secret life of the world of objects, the 1 Rebecca Horn, Doris von Drathen, Au point zero des turbulences, in Rebecca Horn, secrets of alchemy, or the fantasies of body-robots. She Exhibition catalogue, Institut für Auslandsbeziehungen/Carré d’Art Nîmes, 2000, p.168. 2 Rebecca Horn a propos of Der Eintänzer 1978, Nîmes Exhibition catalogue. P. 50. makes these founding themes, which have been present in numerous currents of art history such as Mannerism

Rebecca Horn dans l’installation Les Délices des évêques à Münster (Allemagne), 1997 installation : chaises, spray, construction balançoire, violon, jumelles, feuilles de laurier, charbon, sang, corde et la lumière éternelle, construction métallique, moteurs, dimensions variables, Kunstmuseum Stuttgart.

REBECCA HORN THEATRE OF METAMORPHOSES 2. REBECCA HORN

Rebecca Horn was born the 4 March 1944 in Michelstadt, 1972 is a pivotal year for the artist: her work acquires its a small German provincial town in the Odenwald, a low first international recognition thanks to her participation mountain range. For generations her family have run in the documenta 5, organized by Harald Szeemann a textile factory, in which, boarder during her youth, in Kassel; upheaval of a private nature too, since she she was destined to work. Secretly hoping to become moves to New Nork, in the artists’ quarter of SoHo. It an artist, she began studying philosophy and the visual will become, with Berlin, her place of residence for the arts at the Academy of Fine Arts of Hamburg without coming ten years. Starting in 1974, she also taught as her parents knowing. Her professor, the painter and guest professor at the California Art Institute of San designer Kai Sudeck, fortified her taste for reading; Diego. several works, of which the Journal du voleur (1949) by Jean Genet, Locus Solus (1914) by Raymond Roussel From the very beginning of her artistic work, the cinema and The Chymical Wedding by Christian Rosenkreutz played a central role in Rebecca Horn’s approach. (1616), Johann Valentin Andreae would have an indelible And so, it was therefore very natural that the filmed influence on her philosophy and her work. performances of the first years should be followed in 1978 by a first feature film, Der Eintänzer (“The In 1967, the student began to create mouldings of her Dancer”), for which the artist both wrote the script body in polyester and fibreglass, without being aware and directed. On this occasion, she transformed her of the dangerous vapours that such materials give New York workshop into a school of dance abundantly off. The serious lung intoxication that she contracted equipped with mirrors. The multiple reflections of the afterwards led to her being forced into convalescence space find an echo personified in the twin sisters who for seven months in a sanatorium. The isolation and her live temporarily in this claustrophobic atmosphere. physical weakness were unbearable for her. Drawing was to become an escape mechanism. The medical world, with its bandages and its appliances, upset her. She sketched the first rough drafts of body sculptures. Retrospectively, the artist considered the forced seclusion and the physical unpleasantness caused by the illness as an initiatory trial.

Back at the School of Fine Arts after an interruption of 18 months, her choice of materials was henceforth to be concentrated on organic and light substances: cotton, felt, bandages, feathers. The body sculptures that she was to create next (corsets, gloves, headdresses, masks) recall the aesthetic of prostheses of the nineteenth century. They are of an ambivalent nature, between restricting and immobilizing protective equipment, and physical extensions, establishing a new tactile and sensory terrain, grappling with the surrounding space, following the example of Arm-Extentionen (“Arm-Extensions” 1968). Rebecca Horn calls the series of actions and performances scripted and filmed between 1968 and 1972 “Personal Art” with reference to the individual experience of the wearer of these prostheses.

The filmEinhorn (“Unicorn” 1970) announced a change of paradigm, it underlines the animistic and mythical potential of the body. The bestiary of objects and cross- Achim Thode, Rebecca Horn. Mechanischer Körperfächer, 1974 – 75. breed beings which populate Rebecca Horn’s world from Rebecca Horn Workshop then on, bring together distant realities with the aim of © Rebecca Horn / ADAGP, Paris 2019 establishing a new realm which exceed the oppositions. © Droits réservés. It connects her work to romanticism and even more to Dadaism and to Surrealism.

Achim Thode, Rebecca Horn. Mechanischer Körperfächer, 1974 – 75. Rebecca Horn Workshop

7 REBECCA HORN THEATRE OF METAMORPHOSES

This film also witnesses the appearance of a category From 2000, we see a marked return to drawing in of different works: animated objects which take on the Rebecca Horn’s work. The size of her “Bodylandscapes” role of actors which would henceforth become a keystone were determined by the height of the artist’s body, with of the artist’s work. A whole series of important props her arms up in the air. In order to draw on these large in the film (a table, an ostrich egg, a wheel of peacock sheets of paper, she used all her energy and breadth feathers) evolve into autonomous objects of art to be of her movements. These works are no longer, as at the integrated afterwards into the artist’s exhibitions. This beginning of her career, preparatory sketches for projects “re-employment” unveils a circular interaction between and installations, but autonomous gestural expressions, the different medias used, a repertory of forms and of establishing a free dialogue with her sculptural work, as materials which reappear on a recurring basis in the it is also the case with her poetical work which so often coming years. accompanies her installations, drawings, photographs and artist’s books. The cinema would continue to be a driving force for Rebecca Horn’s creation. Her second feature film, La Since 1989, Rebecca Horn lives and works in Bad König, Ferdinanda, - Sonata for a Villa Medici (1981) which in the Odenwald. The former family textile factory has assembles extravagant and solitary characters set in a been transformed into a spacious workshop, allowing her Tuscany villa, innovates in another realm: the influence the conception and the production of large scale works. of alchemy on the language of the artist here becomes Since 1989, the artist also holds the post of professor of evident, with the appearance of emblematic objects multimedia arts at Berlin’s Fine – Arts Academy. such as the Blaues Bad (“Blue Bath”, 1981) or indeed Pfauenmaschine (“Peacock machine”, 1981). Starting Rebecca Horn’s works are exposed in numerous from the middle of the 1980’s, Rebecca Horn’s work institutions such as the Museum of Contemporary art has more and more often a close relationship with of Tokyo, the Neue Nationalgalerie of Berlin, the Tate German history and societal questions. In 1987, at the Gallery and the Serpentine Gallery of London, the Skulpturprojekte of Münster, she took over, with the Solomon R. Guggenheim Museum of New York and the installation Das gegenläufige Konzert (“Concert in Museum of Contemporary Art of Los Angeles. Her work reverse”) a taboo venue, the Zwinger, which had formerly has won a number of distinctions of which the Carnegie been used for reprisals, torture and assassinations Prize (1988), the Goslarer Kaiserring (1992), The Alexej- under the Third Reich. In a symbolic manner, the von-Jawlensky Prize of the City of Wiesbaden (2007), artist made the walls of the building resonate with the the Praemium Imperiale (2010) the Grande Médaille distress calls of its former inmates. The dark history of des Arts Plastiques of the Academy of Architecture of Germany was also the pretext for a two-part installation Paris (2011) and the Lehmbruck Prize (2017). produced in Weimar: in Concert for Buchenwald (1999), a heap of stringed instruments, broken and piled up The exhibition Rebecca Horn. Theatre of Metamorphoses in the prolongation of the rails of a disused tramway is the first great monograph devoted to the artist in depot, recalling the destiny of the deportees from the France since her presentation at the Musée de Grenoble concentration camp of Buchenwald nearby. At the same and at the Carré d’Art de Nîmes (2000). time, the artist exposed Bees planetary map, in the former summer residence of Wolfgang Goethe in Schloss Ettersburg. Empty bee hives, partly shattered mirrors, wandering reflections and lights and an incessant buzzing producing the frightening image of a precipitous departure and violence.

8 REBECCA HORN THEATRE OF METAMORPHOSES 3. THE LAYOUT OF THE EXHIBITION

“Everything is interlinked. I always start with an idea, a story which develops towards a text, then from the text come the sketches, then a film, and from all that the sculptures and installations are born” 3.

The project recounts the processes of bringing to the surface these works, their repetition and their transformation during the course of five decades of creation. The visitor will cross the different paths of the layout, built like a theatre of metamorphoses, in a dynamic to-ing and fro-ing during the course of which passing from the exhibition space to the cinema, the sculptures and the mechanised objects become the key players of the rituals and life cycles that the artist exposes. Rebecca Horn considers the exhibition to be a choreography or a musical composition offering the visitor-spectator an experience, where sounds, movements and feelings are linked and which transcend all the categories of the history of art (Body Art, video art, installation…) so as to make it sensitive, through a transition between different mediums, what she considers to be “a sort of artistic equilibrium”, a sort of Gesamtkunstwerk in perpetual reinvention.

3 John Dornberg, Rebecca Horn, The Alchemist’s tales (pp.94-99), in ARTnews, December 1991, vol, n°10p.99.

EXHIBITION’S SCENOGRAPHY

FLOOR PLAN OF GALLERY 2

5 8 9 10 11 13

4 6 7 12

2 1 14 3 ENTRANCESORTIE ENTRÉEEXIT

ROOM 1: INTRODUCTION ROOMS 2 AND 3: CORPS CARCAN-COCON ROOMS 4, 5 AND 7: WEDDING PARADE AND DANCES OF DEATH ROOMS 6: THE CINEMA CHAMBER OF ILLUSIONS ROOMS 8, 9 AND 10: THEATRES OF CRUELTY ROOMS 11, 12, AND 13: FIELD OF FORCE ROOM 14: MUSIC FOR ANARCHY

REBECCA HORN THEATRE OF METAMORPHOSES

1. CORPS CARCAN-COCON

Whilst adolescent, Rebecca Horn decided to become an Alberto Giacometti artist and studied at the Hochschule für Bildende Künste of Hamburg starting from 1963, before a serious lung Alberto Giacometti and Rebecca Horn share the same infection obliged her in 1967 to spend a long period in fascination for the world of robots and for the cinema. convalescence in a sanatorium. This experience was The German artist has elsewhere revealed having to have a powerful effect on the first creations of the been fascinated by the dynamic of Main prise. The young artist: the loss of her physical integrity and her two conspicuous spools to the right of the work recall isolation from the outside world led her to an exploration hand-cranked projectors. Limited in its movements of the body as source material for her work, as part by the device, the hand operating this mechanism of the Body Art and performance movement. The body is “seized”, but simultaneously opens the door to a is in turn buried, as in Nehmendes Schwarz (“Black new world, that of the seventh art. expansion”), where black paint absorbs it and makes it disappear, or subjected to organic transformations An analogous ambivalence also characterises and to constant metamorphoses, with the addition of numerous works by Rebecca Horn. In her film,Buster’s prosthetic prolongations, of bandages, horns, gloves or Bedroom (1990), the straightjacket is thus presented headdresses. This equipment which evokes at one and the as a tool which is both cruel and conducive to a same time the Medical Corps, fetishism, violence, desire, spiritual liberation. The wearer of the jacket is forced serves to test and to transform the sensitivity zone: to limit his movements and real-life experience with they increase the physical reclusion of the individual the aim of increasing his/her perceptive capacities bearer as much as they intensify the exploration of his/ and his/her intellectual independence. The physical her residual perceptive space. And if these prostheses constraint becomes the instrument of the interior underline the confinement and the frailty of the body, emancipation. they also accentuate, as in the performance Einhorn (1970), its phantasmagorical potential and give meaning to its “individual mythologies” according to one of the themes of the documenta 5 of Kassel in 1972, to which Harald Szeemann invited the artist to present her bodies in extension in space. In the 1970’s, as an echo to the post-minimal scene and the performances of Vito Acconci and Bruce Nauman, space is replaced by body prostheses in order to accelerate this dynamic of isolation, which Rebecca Horn considers as the necessary condition to “discover the forms of a greater perception of oneself” 4, in isolating devices, such as Die Chinesische Verlobte (“The Chinese Fiancée”, 1976).

4 Sergio Edelsztein, Feather cocoon – torn straightjacket, in Rebecca Horn, exhibition catalogue, Institut für Auslandsbeziehungen/Carré d’art, Nîmes, p.72.

Alberto Giacometti, Main prise / Gefährdete Hand, 1932 Bois et métal, 20 × 59.5 × 27 cm Kunsthaus Zürich, Alberto Giacometti-Stiftung, 1965

Photo credit: Stefan Altenburger © Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti, Paris / Adagp, Paris, 2019)

Rebecca Horn, Fingerhandschuhe, 1972 Épreuve gélatino-argentique, 80 x 60 cm, photographe Achim Thode, collection privée. Rebecca Horn Workshop

Achim Thode, Rebecca Horn, Einhorn, 1970 Tirage argentique noir et blanc, 80 x 60 cm

Rebecca Horn Workshop © Rebecca Horn / ADAGP, Paris 2019

REBECCA HORN THEATRE OF METAMORPHOSES

2. WEDDING PARADES AND DANCES OF DEATH

“It is the way in which we keep within us emotions and Constantin Brâncuşi opposing forces – for example affection and agressivity, which are linked by a thread stretched on an arc – it is this sensation 5 “I could never imagine a man transformed into a swan, of a perpetual flow of energy which keeps things going” . declared Brâncuşi regarding Leda: impossible! But a woman, yes, without any difficulty. Do you recognise her Disguised using the device of metamorphosis and of in the guise of this bird?” 6 alienation such as masks, fans, clothes feathers, with Rebecca Horn, the body becomes a chimera which blurs As with Rebecca Horn, the process of metamorphosis the frontier between reality and fiction, human and is an essential dynamic in the work of Brâncuşi. He animal, body and machine, desire and violence. This had a kinetic stage installed in his workshop where world draws its strength from the imagination close to the sculpture was put into movement by means of the animistic and surrealist world, from their bestiary a mobile pedestal, the instability of the interplay of inhabited by hybrid beings and mutants (peacocks, light, the moving plasticity of the roll of film makes butterflies, snakes) and share the same subversive the form fluctuate and transform itself “for ever into irony mixing eroticism and a bellicose mechanism. a new life, into a new rhythm.” It becomes in its turn These parades of Eros and Thanatos place sexuality a dancing body, responding to the undulations of the at the heart of their mechanism, where principles dancer Florence Meyer and to the pulsations of the and complementary forms create a tension evoking music of Erik Satie; a body desiring, dreams from primordial human relationships. The body appendages the Sleeping Muse to the erotic tension of Princess X. of the first years are successively replaced by kinetic 6 Constantin Brâncuşi in Brâncuşi filme, 1923-1939, DVD, Paris, Éditions du Centre machines whose desires, enjoyment and destructive Pompidou, 2011, 56 min. urges are activated by and for themselves. The parades of these strange mechanical birds often include a reflection on the stereotypes of genres. Bodies without organs which are frighteningly beautiful (following the example of Peacock Machine, endowed with metal spears by way of plumage), or organs without bodies (such as Liebesflucht, Muschelschlaf, 2009 which suggests the egg-shaped and phallic form of Princess X by Brâncuşi), the courtship rituals of these works can also be understood as commentaries not deprived of humour on the auto-erotic “unmarried machines” by Marcel Duchamp, Raymond Roussel and Franz Kafka.

5 Rebecca Horn in an interview with Michael Stefanowski, in : Rebecca Horn at The Guggenheim New York, Mayence: ZDF, 1993, 12min.

Constantin Brâncuși, Les films de Brâncuși, 1923 – 1939 Films originaux 35 mm noir et blanc, muet, filmstill (Leda), Paris, Centre Pompidou, Musée national d’art moderne

Rebecca Horn, La Ferdinanda : Sonate für eine Medici-Villa [La Ferdinanda : Sonata pour une villa Medici], 1981 85 min, 35 mm, couleur, son Rebecca Horn Workshop

Rebecca Horn, Hahnenmaske (« Masque-coq »), 1971 performance, 1973, 16 mm, couleur, son, muet

Rebecca Horn Workshop © Rebecca Horn / ADAGP, Paris 2019

REBECCA HORN THEATRE OF METAMORPHOSES

3. THE CINEMA, CHAMBER OF ILLUSIONS

“I was fascinated by the possibility that the cinema The cinema became an alchemistic medium. As in offers of staging a total illusion on a screen” 7, confided La Ferdinanda: Sonata for a Medici Villa (1981), the Rebecca Horn. Her films, which at her debut endeavored animistic parade of a fantastic white bird is borrowed to document her intimist and body performances, from the founding text of the Rosicrucian philosophy progressively cut themselves loose in order to become by Johann Valentin Andrae, The Chymical Wedding of the privileged arena at the heart of which the mechanised Christian Rosenkreutz (1616). The objects and sculptures sculptures and the actors were engaged in narratives at dematerialise into emotions, desire into madness, from one and the same time tragi-comic or surreal, inspired melancholy until death. The actors, which according to by Samuel Beckett, Luis Buñuel and Buster Keaton. her words become “inventive catalysers who breathe life The latter became an alter ego, the symbol of a flight into mechanical prostheses” 8, come back like archetypes towards freedom produced by Rebecca Horn in her film (the doctor, the twin sisters, the dancer) from film after Buster’s Bedroom, where a young girl follows a great film, according to a logic of repetition and of duality. silent film star and tries to track him down in the clinic where he had once been treated for rehabilitation. In More than any other medium, the cinema offers Rebecca this closed world of the sanatorium circulate surreal Horn the space where the animate and the inanimate characters suffering from a certain alienation, from a coexist in role-play which is sometimes out of bounds separation from reality. An absurd and melancholic logic allowing also the influence of the underground cinema runs through the film, of a burlesque nature familiar to of Andy Warhol, Jack Smith and Kenneth Anger whose Keaton himself, master of the representation of lost and teaching she followed at the Fine – Arts School of powerless beings struggling with a hostile world. The Hamburg and which made her become aware of an paradox for the protagonists of their film resides in the aesthetic of occultism and oneirism. fact that despite their isolation, they feel totally free 7 Stuart Morgan, “Round the Horn. Rebecca Horn interviewed by Stuart Morgan”, in Frieze, September/October 1994 n.p., from the constraints of reality. Liberty is thus placed 8 Rebecca Horn, Germano Celant, “The Bastille interview I : Paris 1993”, in Rebecca at the heart of this feature film. Horn. Musée de Grenoble, exhibition catalogue, Paris, RMN, 1995, p.20.

Rebecca Horn, Buster’s Bedroom (« La Chambre de Buster », filmstill), 1990 1h45min, 35 mm, couleur, son Rebecca Horn Workshop

Rebecca Horn, Performances 2, 1973, Film cinématographique, 16 mm, couleur, muet, numérisé De gauche à droite : Federfinger (Feather Fingers), 03’07’’ Gavin, 3’45’’ Kakadu-Maske (Masque-Cactoès), 02’03’’ Hahnenmaske (Masque-coq), 02’16’’

REBECCA HORN THEATRE OF METAMORPHOSES

4. THEATRES OF CRUELTY

“For me, machines are endowed with a soul, they take action, underline the complicity she maintains with the work of they shake, they shiver, they lose consciousness and suddenly Antonin Artaud and his Theatre of Cruelty, this “theatre they come back to life. They are in no way perfect […] the which wakes us up: nerves and heart” 10 “It is not a world of objects also has its own life.” 9 question of that cruelty which we can exert on other people (…) but (…) that which is much more terrible Rebecca Horn gives life to objects, she saturates them in and necessary that things can exert on us” 11. Rebecca reminiscences which refer to lived-through experiences Horn prolongs the reflection of Artaud who makes the or take their inspiration from literature. She confers theatre an arena shared between the actors and the upon them an ambiguous presence, transforming them spectators. The theatricalisation that she makes use of into “objects of her affection”, to use one of Man Ray’s from her first actions of the period 1968-1972 to her catchphrases. She put back into circulation objects which installations, consider art as cathartic “an initiation perturbed our perception of the real: a kitchen trolley ritual” and space as a sensitive theatre, inhabited from a school of dance starts up a tango or a swing and organic which, like that in Der Eintänzer (1978) developing its own diabolical life. In the continuity of is a “world closed to its own continuity – shaped by Dadaism and Surrealism, she proceeds by association those who inhabit it – and which lives by itself. The of paradoxical elements forming a new entity as in the walls, the mirrors, the windows also lead their own work Wald der vogel freien Sänger (“the forest of the life, breathe and ceaselessly transform themselves outlawed singers”, 1991), where the long views which she with the light”. Rebecca Horn dramatises this world so dramatises are no longer observation tools, but indeed that it awakens in the spectator associations of ideas the voyeurs who watch us. Beyond these Surrealist and becomes “a free space of his/her imagination” 12. games, Rebecca Horn’s works are also penetrated by 9 Rebecca Horn, Germano Celant, “The Bastille Interview I : Paris 1993”, in Rebecca Horn. Musée de Grenoble, Exhibition catalogue, Paris RMN, 1995, p.20. the disappearance of the body of which sometimes 10 Antonin Artaud, “The Theatre of Cruelty” in The theatre and its double, Paris Gallimard, only the reusable objects and attributes remain, silent coll. “folio essays”, 1938, p.131. 11 Antonin Artaud, “Do away with chef d’oeuvres” in The theatre and its double, op. cit. p.123. witnesses of the war and of the holocaust, such as 12 Carl Haenlin, “Time goes by”, in Rebecca Horn, exhibition catalogue, Institut für her installation Concert for Buchenwald, 1999. She Auslandsbeziehungen/ Carré d’art, Nîmes, 2000, p.50. assembles these objects into dramatisations which

Meret Oppenheim The distorted objects by Meret Oppenheim frequently reflect the social situation of women, wives or mothers. Thus, the cohesive communion of a pair of ankle boots becomes the metaphor of the constraints of a couple of lovers. The all-consuming kiss makes this pair unfit for walking. This Couple mutually stop each other from progressing. The artist wonders “ Why is it that there are still men even young men, who resolutely deny women any creative spirit? In a great poetic artistic musical philosophical work, it is always the being in its entirety which expresses itself. And this being is also as much essentially masculine as it is feminine” 13.

In many respects, Rebecca Horn is the heir to the Swiss artist, who was a friend. Thus, she in turn declared “I see myself neither as masculine nor as feminine, I see myself as an artist and I move around on the fringe. Of course, being a woman, I have another sensitivity in my approach to things, although, my works also have Meret Oppenheim, Das Paar [Le Couple], 1956 a certain hardness. I think that artists must liberate Bottines en cuir, 64 x 68 cm 14 Collection privée, Londres, Royaume-Uni themselves from this problem” . Rebecca Horn’s works do not advocate harmony between the sexes. Eros for her © Adagp, Paris, 2019 remains a realm which is passionate and contentious. Her machines endowed with a soul, agents of human relations, personify feminine and masculine desires and frictions. The artist underlines in the wake of Meret Oppenheim the changeable nature of the sexes and the analogy of their respective desires.

13 “Meret Oppenheim: Speech” (1975) reproduced in : Heike Eipeldauer, Ingried Brugger, Gerreon Sievernich, Meret Oppenheim. Retrospective, Lam, Lille, Lille, 2013, p.270. 14 Rebecca Horn, Kristin Seebeck, Andreas Kläui, “Vertspiegelt. EinBaumder sich unterirdisch wiederholt”, in Du: die Zeitschrift der Kultur, cahier 770, volume 66, 2006- 2007, p.45.

Rebecca Horn, Die preussische Braut, 1988 Peinture bleue, 11 escarpins, construction en métal, moteurs, 350 x 120 cm

Rebecca Horn Workshop © Rebecca Horn / ADAGP, Paris 2019

REBECCA HORN THEATRE OF METAMORPHOSES

5. FIELDS OF FORCE

“What you call the absolute limit of perception, of pain is and create similarities and correspondences between also ecstasy, and that is something which moves me a great the macrocosm and the microcosm. Starting from a deal […] negatively but also positively. This is a poison which theoretical agreement about this essential objective, the every artist dreams of preserving for him/herself.” 15 overtaking therefore of dualisms, the Surrealists, and in their wake, Rebecca Horn, create their alchemical The world of Rebecca Horn is inhabited by forces iconography as an allegory of a spiritual quest. The which are opposed to their feverish union. Her bestiary “philosopher’s stone” that these artists are looking of objects and hybrid beings celebrates not only the for is without doubt not a material. It is a vital spirit, fraternity of the realms, but seeks also to rise above any of a universal consciousness which encompasses and antagonism, beginning with the fundamental polarity embraces in its transforming capacity, the anarchy of man/woman. These characteristics stride across the contrary winds. A timeless research, eternal. artist’s works to Dadaism and to Surrealism: to their 15 Unpublished and undated article with Doris von Drathen, conserved in the archives of the Rebecca Horn Workshop, p.16-17. In the text “Das was Du die absolute Grenze fantasy menageries which distort “what we could call nennst berührt[…]Ins Negative, aber auch ins Positive. Und das ist eine Art Gift, von dem God’s puzzle” 16; to their subversive irony; to the world jeder Künstler träumt, es sich zu erhalten”. 16 Gilbert Lascault, The Monster in Contemporary Art, Paris, Edition Klincksieck, 1973, p.179. of unmarried-machines at last, suggesting by their 17 André Breton, “Second Manifesto on Surrealism”, op.cit.,p. 135. ambiguity as much the omnipotence of eroticism as death. Following the example of her peers, Rebecca Horn submits her work to constant metamorphoses in the hope of a transformation of the subject and of reality.

These latent connections with Rebecca Horn’s work are linked: their keystone is alchemy, for which these artists share the same fascination. “Surrealist research presents with alchemical research a remarkable similarity of objectives” 17, was a generalized remark made by André Breton. The Great Alchemical Work is a process which aims not only to transform and to refine matter, but also the metamorphosis of the subject, which is supposed to acquire during the course of the different stages of the enterprise a superior level of consciousness, a state of harmony paying no heed to dualisms (body/spirit, men/ Rebecca Horn, Brennender Busch [Le Buisson ardent], 2001 woman, etc.). In this bimillenniary discipline, there are 350 x 330 x 200 cm Collection privée no fixed frontiers between matter, soul and intellect. At the heart of a continuum, opposing energies are moving © Rebecca Horn / ADAGP, Paris 2019

Max Ernst According to Max Ernst “we could define collage as an alchemical compound of two or several heterogeneous elements, resulting from their unexpected coming together” 18. Artist of chimeras, the hybrid is for him the place of the return to an original and invigorating chaos. In his work, the kingdoms unite into one unity of the whole, at the heart of which energies circulate, pollinate, as in his collage The sap rises.

The alchemical consolidation of opposites and the establishment of a form of augmented unity finds an echo with Rebecca Horn, whose iconography is influenced by the animistic world of Max Ernst. Her kinetic installation, Brennender Busch (“fiery bush”, 2001) in its turn, with its funnels, carbon, and moving metallic stalks calls for the idea of alchemical Max Ernst, « La sève monte » (extrait de La femme 100 têtes), 1929 conversion. The two artists share the poetical power Gravures découpées et collées sur papier collé sur carton, 10,3 x 14,8 cm Paris, Centre Pompidou, Musée national d’art moderne of making suddenly appear from what seems to be Crédit photographique : © Jacques Faujour - Centre Pompidou, MNAM-CCI /Dist. RMN-GP incoherent a brilliant and frightening parallel world. © Adagp, Paris, 2019 If Max Ernst lives his personal myth through the character of “Loplop”, his half-man/ half-bird, alter ego Rebecca Horn’s Peacock machines become in turn, with the arials extended, the symbols of sensory

extension and consciousness. 18 Max Ernst, Writings, Paris, Gallimard, 1970, p.262.

Rebecca Horn, Cinéma vérité / Heartshadow’s for Pessoa, 2005 bassin en métal, cuivre, projecteur, électronique, moteur, eau (noire), construction en métal, 1,80m de diamètre, collection privée

REBECCA HORN THEATRE OF METAMORPHOSES

6. MUSIC FOR ANARCHY

From the melody taken from the Symphonic Poem Don anarchy” art is anarchy…anarchy is freedom. -freedom Quichotte by Richard Strauss tirelessly played by a cellist on the fringe, the vulnerability which accompanies the and which seems to move, in a surreal synesthesia, transgression of limits” 19, explains the artist. the bluish surface of a pond in La Ferdinanda, to the 19 Sergio Edelstein, “Feather Cocoon – Torn straightjacket”, in Rebecca Horn, Exhibition bruitist dissonances pushed out by the guts of a piano catalogue, Institut für Auslandsbeziehungen/ Carré d’art, Nîmes, 2000, p.75. suspended by its feet (Concert for Anarchy, 1990), music participates in the laboratory of forms and of perceptions started by Rebecca Horn. The relentless malfunctioning which leads to the folly of the pianist in Buster’s Bedroom or to the violence of the Concert for Buchenwald (1999) call for all at once the mechanisms of the watchmaker Frenkel of Locus Solus by Raymond Roussel and the iconoclastic diversions of Fluxus. This movement considers the manipulation of sound as the starting point fo a much greater creative project, destined to abolish frontiers between the different artistic categories, between the creator and the spectator and even more between art and life. The nihilistic jubilation of Fluxus gives way with Rebecca Horn to a consciousness of the world, where brutality and pain are consubstantial of a dramatic tension and of an Rebecca Horn, Buster’s Bedroom (« La Chambre de Buster », filmstills), 1990 1h45min, 35 mm, couleur, son Rebecca Horn Workshop aesthetic quest, which transforms the work not into an instrument of harmony, but into a vector of a salutary © Rebecca Horn / ADAGP, Paris 2019

4. THE CATALOGUE

The exhibition devoted to Rebecca Horn at the Centre REBECCA HORN. THEATRE OF METAMORPHOSES Pompidou-Metz will explore the creative process of the DIRECTED BY EMMA LAVIGNE artist, exposing the dialogue which was established between her works over five decades, whilst undertaking AND ALEXANDRA MÜLLER to put into perspective the sources of influence – PRICE: 36 EUROS surrealist, alchemical, theatrical and cinematographical. NUMBER OF PAGES: 216 By calling upon, in the form of a montage, different PUBLICATION DATE: 05 JUNE 2019 systems of images, notably a rich corpus of archival ISBN: 978-2-35983-056-9 documents, this work opens up new perspectives on the work of Rebecca Horn, looked at again in the light of transversal themes and previously unseen trials, by Philippe-Alain Michaud, curator responsible for the film collection at the Musée national d’art moderne Centre Pompidou in Paris, as well as the curators Emma Lavigne and Alexandra Müller.

Rebecca Horn, Concert for Anarchy, 1990 Piano, vérins hydrauliques et compresseur, 150 x 106 cm

Rebecca Horn Workshop © Rebecca Horn / ADAGP, Paris 2019

REBECCA HORN THEATRE OF METAMORPHOSES 5. LIST OF ARTISTS PRESENTED IN DIALOGUE WITH THE WORK OF REBECCA HORN

Antonin Artaud Buster Keaton Hans Bellmer Serge Lido Constantin Brâncuși André Masson Victor Brauner Roberto Matta Claude Cahun Willy Maywald Lucien Clergue Joan Miró Salvador Dalí Emiel van Moerkerken Marcel Duchamp Paul Nougé Paul Eluard Meret Oppenheim Max Ernst Francis Picabia Alberto Giacometti Man Ray Maurice Henry Tristan Tzara Georges Hugnet

Rebecca Horn, Bee’s Planetary Map, 1998 15 paniers de paille, fil, moteurs, disque de miroir brisé, verre brisé, tiges de métal, bâton en bois, pierre, son, lumières, 426,7 x 975,4 cm

Rebecca Horn Workshop © Rebecca Horn / ADAGP, Paris 2019

23 REBECCA HORN THEATRE OF METAMORPHOSES 6. ASSOCIATED PROGRAMME

THU. 13.06 SUN. 16.06 REBECCA HORN: FAMILY WORKSHOP: THE ARTIST AS AN ALCHEMIST I LEARN TO TELL A STORY

Conference | 7 PM Workshop | 2 PM By Alexandra Müller, co-curator of the exhibition 120' | 6€ (per participant, children from 8 to 14 and their parents, Auditorium Wende | 5€ | Free for PASS-M and PASS-M Jeune + entrance ticket to the day’s exhibitions for the over 25 year olds) holders For more than fifteen years, Nathalie Galloro has been sharing The bestiary of objects and hybrid beings by Rebecca Horn her passion for fairy tales as much with children as with borrows from alchemy, this bimillaniary occult science of adults. As a family group, she proposes to visitors to discover numerous symbols: the snake, the peacock, the egg, the the exhibition devoted to Rebecca Horn and to learn to choose funnel, the bath, coal, lead, sulphur, mercury, or even gold. the words in order to compose a story in music, inspired by Where does the artist’s fascination for a discipline which a her world inhabited by the metamorphosed. Nathalie Galloro priori runs against the tide of present day society come from? will be accompanied by Madeleine Lefebvre on the violin. The conference will go back over the role of alchemy in the world of the artist, for whom metamorphosis has become a veritable leitmotiv. WED. 10.07 SAT. 15.06 THE MACHINIST AND THE GENERAL CONCERT FOR ANARCHY

Clyde Bruckman and Buster Keaton (1926) | 1h34 Vincent Segal, Lucie Antunes, Ariane Michel Open-air cinema | 10:30 PM Concert | 4 PM Centre’s Forecourt (open-air cinema) | Free Rebecca Horn considers the dramatisation of the exhibition In the middle of the American Civil War, the young machinist like a musical motive, a sensory and acoustical experience, Johnny finds himself torn between his passion for his steam at the heart of which the sounds, the movements, the feelings locomotive and the sweet Anabelle. Unsuccessful even reverberate. Inspired by the world of Rebecca Horn, which though he wanted to enlist in the Southern army, the railway puts under tension the melodic lines of the music of Strauss man would be able to prove his bravery when a battalion or Wagner, with the melancholy of gypsy music or noiseist of Northerners later attempt to seize his work tool. dissonances, the cellist Vincent Segal, accompanied by the Considered to be the chef d’œuvre of Buster Keaton, this percussionist Lucie Antunes transform the exhibition into a film makes the steam locomotive the principle character, concert hall. They make up a free itinerary through the Centre the central cinematographical theme of this mechanical Pompidou-Metz, combining harmony, fury and folly, in order cavalcade. The world of the film director, with his protagonists to make more sensitive the correspondences between sounds powerless and lost face to face with a hostile world, is of a and forms, silence and anarchy which underpin the artist’s capital importance for the work of Rebecca Horn. work. The video images by Ariane Michel, echoing those by Rebecca Horn, explore in turn the animal world, vegetables and the elements transformed into a force field, proposing a sensory experience at the heart of the living. SUN. 24.11 ONCE UPON A TIME… THE CENTRE POMPIDOU-METZ, A PLACE TO LIVE AND TO SHARE. Fairy tales based on the work of Rebecca Horn | 3 PM 120' | Galerie 2 The subscribers are regularly invited to live unique experiences with a link to the Programme of the During this autumnal day, fairy tales which will be an echo Centre Pompidou-Metz during participative projects. to the work of the artist will reverberate in the exhibition As part of the exhibition Rebecca Horn. Theatre of gallery. Directed by the storyteller Nathalie Galloro, the Metamorphoses, 12 subscribers will be trained during subscribers to the Centre Pompidou-Metz will invite you to 6 weeks by the storyteller Nathalie Galloro in this same enter into the imagination of the metamorphoses. form of expression.

24 REBECCA HORN THEATRE OF METAMORPHOSES 7. IN RESONANCE WITH THE EXHIBITION THEATRE OF METAMORPHOSES BODY FANTASIES AT THE MUSEUM TINGUELY OF BASEL

Rebecca Horn. Body Fantasies wings. These are dynamic models with which Rebecca Horn pursues the exploration in a series of sculptures Rebecca Horn has always drawn her inspiration from the like the naked body enveloped by the plumage of the individual body and from its movements. A choice which Paradieswitwe (“The widow of Paradise”), 1975), the was expressed in her first performances in the 1960’s and parade of Die Pfauenmaschine (“The machine-peacock”, 1970’s through the use of objects, anatomical extensions 1979) of the Hängender Fächer (“The suspended fan”, which opened the way forward to new perceptions 1982), the wheel of feathers of the Zen der Eule (“The whilst at the same time acting as constraints. From the Owl’s meditation”, 2010). 1980’s, the artist above all created kinetic machines and installations exploring space, to which movement gives Circulation life. The body in action is replaced here by a mechanical actor. The exhibition in Basel Body Fantasies highlights A second exhibition space has as its subject the different these processes of transformation, from augmented forms of circulation: organic, mechanic and electric. bodies to moving machines which have characterised The central role here is attributed to the Überströmer the work of Rebecca Horn for almost half a century. (“The blood circulating machine”, 1970) where man is represented as a hydro-mechanical apparatus which is Her body sculptures, prostheses made of textiles or not unlike recalling the historical model of the machine equipped with feathers, engage in a tactile exploration in the scientific study of the human body. The work is of space, a haptic bodily experience. At first sight they confronted with the installation Rio de la Luna (“The strongly contrast with these cold precision mechanisms Moon’s River”,1992), a network of tubes proliferate of in metal, which are typical of her later kinetic works. which the “cardiac chambers” are supplied in mercury Centered on movement, kinetics and procedural by pumps. In the first example, the blood circulation, approaches, the Museum Tinguely’s presentation interior, is displaced towards the exterior, forcing the underlines conversely the continuity of her work. In wearer of the apparatus to remain immobile and thus the exhibition spaces, her performative works are next reducing it to a simple mechanical object, whereas, to her much later mechanical sculptures thus going in the second example, Rebecca Horn chose to make back over the use of movement motives specific to the currents of emotional energy visible. artist. Structured into micro-narratives and taking into account an approach which transcends the limits between mediums, the Basel exhibition illustrates, through four great themes, the evolution of her work, a sequence of “stations of a process of transformation” (Rebecca Horn).

Beating the wings

A first group of works stem from the performanceWeisser Körperfächer (« White body fan », 1972), where the artist echoes man’s ancient fascination for creatures endowed with wings and feathers. By using straps, she fixed to her body a pair of semi-circular wings in white canvas which unfolded when she raised her arms. These sails were stiffened by ribs evocative of the first aircraft, above all making us think about, by their movements and the manner in which they cover the body, the wings of a butterfly. A film documents the series of movements

tried out with this apparatus: opening, closing, control Rebecca Horn, Bleistiftmaske, 1973, Filmstill

25 REBECCA HORN THEATRE OF METAMORPHOSES

Drawing major work exposed in Basel: a group of typewriters in action, hanging from the ceiling. The works of this Drawn lines and coloured marks, considered as many group also offer a sociological vision of the machine traces of body movements, constitute another thematic as an extension of the body, where numerous objects group of the Basel exhibition. This motive is initiated by with feminine connotations can be found. the Bleistiftmaske (« Pencil -Mask », 1972), a frightening drawing utensil in the form of a mask, which bestows the Dr. Sandra Beate Reimann, curator of the exhibition body with the function of a dynamic and blind drawing machine. The artist regularly explores this theme with her automated painting machines, of which two models are presented here (Salomé, 1988, and The lovers, 1991). The marks are understood to be not only traces of physical movement, but also as an expression of an emotional impulse and of a passion. The drawing as an inclusion of the body and of the psyche is ultimately brought back in the large-scale paper works in the series Bodylandscapes, produced by hand in 2004 and 2005, their dimensions referring directly to the size of the artist and to the range of her movements.

Touching

A final thematic group concerns the hand and feet extensions. One of the first works in this category are the Handschuhfinger (“Finger-gloves”, 1972). With the help of extensions made of balsa covered in a black cloth, the artist explores her environment as if she were endowed with tentacles. Rebecca Horn has deepened the experience with kinetic works where on several occasions she makes use of everyday objects which can be taken for bodily extensions in the Freudian sense, such as paint brushes, hammers or high heel shoes (in American Waltz, 1990). The typewriters with their keyboards are also instruments which prolong Rebecca Horn, Les Amants, 1991 our fingers. They have been used by Rebecca Horn Vue de l’installation, Galerie de France, 2003 in several works, including The Rebel Moon (1991), a © 2019 : Rebecca Horn/ProLitteris, Zürich

Musée Tinguely Multi-media guide Paul Sacher-Anlage 1 Meta-Tinguely guides you through the museum’s P.O. Box 3255 collection, focusing on selected works. CH-4002 Basel www.tinguely.ch/meta T. +41 61 681 93 20 [email protected] How to find us www.tinguely.ch From Central Station (Basel SBB): Tram line 2 to #tinguely #jeantinguely “Wettsteinplatz”, change to bus line 31 or 38 to @museumtinguely “Museum Tinguely” From Basel Badischer Bahnhof: Bus line 36 to “Museum Press contact: Isabelle Beilfuss, T. +41 61 687 4608 Tinguely” [email protected] Motorway: Exit “Basel Ost/Wettstein”, parking under motorway bridge Opening hours Tuesday to Sunday Art education 11 am – 6 pm T. +41 61 688 92 70

Admission Bistro Chez Jeannot Adults: CHF 18 T. +41 61 688 94 58 Reduced: CHF 12 Children under 16: free Groups: 12 CHF (p. person) School groups: free entrance after prior registration, www.tinguely.ch

26 REBECCA HORN THEATRE OF METAMORPHOSES 8. THE PARTNERS

Centre Pompidou-Metz is the first example of devolution of a major national cultural institution, Centre Pompidou, in partnership with local and regional authorities. As an autonomous institution, Centre Pompidou-Metz benefits from the experience, know-how and international renown of Centre Pompidou. It shares with its elder the values of innovation, generosity, a pluridisciplinary approach as well as an openness to all visitors.

Centre Pompidou-Metz puts on temporary exhibitions based on loans from the collection of Centre Pompidou, National Museum of Modern Art, which, with more than 120.000 artworks, is the largest collection of modern and contemporary art in Europe and the second largest in the world. The loans come as well from numerous other French and international museums, galleries and private collectors.

It also develops partnerships with museums around the world. As an extension to its exhibitions, Centre Pompidou- Metz offers dance performances, concerts, cinema and lectures.

It is supported by Wendel, its founding sponsor.

Mécène fondateur

With the participation of Vranken-Pommery Monopole.

In media partnership with:

27 LEE UFAN HABITER LE TEMPS

REBECCA HORN THEATRE OF METAMORPHOSES

GRAND MECENE DE LA CULTURE

WENDEL, MÉCÈNEGRAND FONDATEUR MECENE DE DU LA CENTRE CULTURE POMPIDOU-METZ

WENDEL, FOUNDING SPONSOR OF THE CENTRE POMPIDOU-METZ Depuis son ouverture en 2010, Wendel est engagée auprès du Centre Pompidou-Metz. Wendel a souhaité soutenir une institution emblématique, dont le rayonnement culturel touche le plus grand nombre. En raison de son engagement depuis de longues années en faveur de la culture, Wendel a reçu le titre de Wendel« Grand has Mécène been involved de la Culture with the » en Centre 2012. Pompidou-Metz since its opening in 2010. Trough this patronage, Wendel has wanted to support an emblematic institution with a broad cultural influence. Wendel est l’une des toutes premières sociétés d’investissement cotées en Europe. Elle exerce le métier Ind’investisseur acknowledgement de longof its termelong-standing qui nécessite commitment un engagement to cultural development, actionnarial Wendel qui nourrit was awarded la confiance, the title une ofattention “Grand Sponsor permanente of Culture” à l’innovation, in 2012. au développement durable et aux diversifications prometteuses. WendelWendel is onea pour of Europe’s savoir-faire leading de listed choisir investment des sociétés companies. leaders, It operates comme as cellesa long-term dont investorelle est andactuellement requires a actionnairecommitment :from Bureau shareholder Veritas, whichSaint-Gobain, fosters trust, IHS, constantConstantia attention Flexibles, to innovation, Allied Universal, sustainable Cromology, development Stahl, andTsebo promising ou encore diversification PlaYce. opportunities. Wendel excels in the selection of leading companies, such as those in which it currently owns a stake: Bureau Veritas, Saint-Gobain, IHS, Constantia Flexibles, Allied Universal, Cromology,Créé en 1704Stahl enor Tsebo.Lorraine, le groupe Wendel s’est développé pendant 270 ans dans diverses activités, notamment sidérurgiques, avant de se consacrer au métier d’investisseur de long terme à la fin des années Founded1970. in 1704 in the Lorraine region, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s. Le Groupe est soutenu par son actionnaire familial de référence, composé de plus de mille actionnaires de Thela Groupfamille is Wendel supported réunis by itsau coresein familyde la sociétéshareholder familiale group, Wendel-Participations, which is composed of moreactionnaire than one à hauteurthousand de shareholders37,6 % du groupe of the WendelWendel. family, combined to form the family company Wendel-Participations, which owns 37.6% of the Wendel group’s share capital.

CONTACTSCONTACTS

ChristineChristine Anglade Anglade Pirzadeh Pirzadeh : + +33 33 (0) (0) 1 421 4285 8563 6324 24 [email protected]@wendelgroup.com Caroline Decaux + Caroline33 (0) 1 42 Decaux 85 91 27: [email protected]+ 33 (0) 1 42 85 91 27 [email protected]

28 REBECCA HORN THEATRE OF METAMORPHOSES 9. IMAGES AVAILABLE TO THE PRESS

The pictures of artworks, among which the pictures listed hereafter, can be downloaded at the following url: centrepompidou-metz.fr/phototheque USERNAME: presse PASSWORD: Pomp1d57

Rebecca Horn, Die sanfte Gefangene [La douce Rebecca Horn dans l’installation Les Délices des Achim Thode, Rebecca Horn. Mechanischer Achim Thode, Rebecca Horn. Mechanischer prisonnière], 1978 évêques à Münster (Allemagne), 1997 Körperfächer, 1974 – 75. Körperfächer, 1974 – 75. Photographie de tournage du film Der Eintänzer [Le Danseur] Installation : chaises, spray, construction balançoire, violon, Rebecca Horn Workshop Rebecca Horn Workshop Rebecca Horn Workshop jumelles, feuilles de laurier, charbon, sang, corde et la lumière éternelle, construction métallique, moteurs, dimensions © Rebecca Horn / ADAGP, Paris 2019 © Rebecca Horn / ADAGP, Paris 2019 © Rebecca Horn / ADAGP, Paris 2019 variables, Kunstmuseum Stuttgart. © Droits réservés. © Droits réservés.

Achim Thode, Rebecca Horn. Einhorn, 1970 Rebecca Horn, Fingerhandschuhe, 1972 Alberto Giacometti, Main prise / Gefährdete Hand, 1932 Rebecca Horn, Hahnenmaske (« Masque-coq »), 1971 Tirage argentique noir et blanc, 80 x 60 cm Épreuve gélatino-argentique, 80 x 60 cm, photographe Achim Bois et métal, 20 × 59.5 × 27 cm performance, 1973, 16 mm, couleur, son, muet Rebecca Horn Workshop Thode, collection privée. Kunsthaus Zürich, Alberto Giacometti-Stiftung, 1965 Rebecca Horn Workshop Rebecca Horn Workshop © Rebecca Horn / ADAGP, Paris 2019 Photo credit: Stefan Altenburger © Rebecca Horn / ADAGP, Paris 2019 © Rebecca Horn / ADAGP, Paris 2019 © Succession Alberto Giacometti (Fondation Alberto et Annette © Droits réservés. Giacometti, Paris / ADAGP, Paris, 2019)

29 REBECCA HORN THEATRE OF METAMORPHOSES

Rebecca Horn, La Ferdinanda : Sonate für eine Constantin Brâncuși, Les films de Brâncuși, Rebecca Horn, Performances 2, 1973, Film Rebecca Horn, Buster’s Bedroom (« La Chambre Medici-Villa [La Ferdinanda : Sonata pour une villa 1923 – 1939 cinématographique, 16 mm, couleur, muet, numérisé de Buster », filmstill), 1990 Medici], 1981 Films originaux 35 mm noir et blanc, muet, filmstill De gauche à droite : 1h45min, 35 mm, couleur, son 85 min, 35 mm, couleur, son (Leda), Paris, Centre Pompidou, Musée national Federfinger (Feather Fingers), 03’07’’ Rebecca Horn Workshop Rebecca Horn Workshop d’art moderne Gavin, 3’45’’ Kakadu-Maske (Masque-Cactoès), 02’03’’ © Rebecca Horn / ADAGP, Paris 2019 © Rebecca Horn / ADAGP, Paris 2019 Photo © Centre Pompidou, MNAM-CCI/Hervé Véronèse/ Hahnenmaske (Masque-coq), 02’16’’ Dist. RMN-GP © Succession Brâncuși - All rights reserved (Adagp) [2019] © Rebecca Horn / ADAGP, Paris 2019

Rebecca Horn, Die preussische Braut, 1988 Meret Oppenheim, Das Paar [Le Couple], 1956 Rebecca Horn, Cinéma vérité / Heartshadow’s for Rebecca Horn, Brennender Busch [Le Buisson ardent], Peinture bleue, 11 escarpins, construction en métal, moteurs, Bottines en cuir, 64 x 68 cm Pessoa, 2005 2001 350 x 120 cm Collection privée, Londres, Royaume-Uni bassin en métal, cuivre, projecteur, électronique, moteur, 350 x 330 x 200 cm eau (noire), construction en métal, 1,80m de diamètre, Collection privée Rebecca Horn Workshop © ADAGP, Paris, 2019 collection privée © Rebecca Horn / ADAGP, Paris 2019 © Rebecca Horn / ADAGP, Paris 2019 © Rebecca Horn / ADAGP, Paris 2019

Max Ernst, « La sève monte » (extrait de La femme Rebecca Horn, Concert for Anarchy, 1990 Rebecca Horn, Buster’s Bedroom (« La Chambre Rebecca Horn, Bee’s Planetary Map, 1998 100 têtes), 1929 Piano, vérins hydrauliques et compresseur, 150 x 106 cm de Buster », filmstills), 1990 15 paniers de paille, fil, moteurs, disque de miroir brisé, verre Gravures découpées et collées sur papier collé sur carton, Rebecca Horn Workshop 1h45min, 35 mm, couleur, son brisé, tiges de métal, bâton en bois, pierre, son, lumières, 10,3 x 14,8 cm Rebecca Horn Workshop 426,7 x 975,4 cm Paris, Centre Pompidou, Musée national d’art moderne © Rebecca Horn / ADAGP, Paris 2019 Rebecca Horn Workshop © Rebecca Horn / ADAGP, Paris 2019 Crédit photographique : © Jacques Faujour - Centre Pompidou, © Rebecca Horn / ADAGP, Paris 2019 MNAM-CCI /Dist. RMN-GP © ADAGP, Paris, 2019

30 REBECCA HORN THEATRE OF METAMORPHOSES

Rebecca Horn, Die Kleine Sirene [La Petite sirène], 1990 Antonin Artaud, La Machine de l’être ou Dessin Rebecca Horn, Les délices des évêques, 1997 Rebecca Horn, Mechanischer Körperfächer, 1974 – 1975 Plumes, moteur et tige métallique, 172 × 150 × 20 cm à regarder de traviole, [janvier 1946] Chaises, spray, construction balançoire, violon, jumelles, feuilles Fabric, wood and metal, 280,3 x 270 cm Collection Antoine de Galbert, Paris Mine graphite et craie de couleur grasse sur papier, 65 x 50 cm de laurier, charbon, sang, corde et la lumière éternelle, construction Tate Moderne, Londres Paris, Centre Pompidou, Musée national d’art moderne métallique, moteurs © Rebecca Horn / ADAGP, Paris 2019 Kunstmuseum Stuttgart. © Tate, London 2019 Photo : © Celia Pernot Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand © Rebecca Horn / ADAGP, Paris 2019 Palais / Philippe Migeat © Rebecca Horn / ADAGP, Paris 2019

Meret Oppenheim, Gants (paire), 1985 Claude Cahun, Sans titre [Mains], 1936 / 1939 Rebecca Horn, Kakadu-Maske, 1973 Rebecca Horn, Federfinger, 1973 En fin daim de chèvre, passepoilé, sérigraphie. Épreuve gélatino-argentique, 25,3 x 19,8 cm Feathers, metal and fabric, 44 x 32 cm Rebecca Horn Workshop Edition de 150 paires, fabriquées à Florence Paris, Centre Pompidou, Musée national d’art moderne Tate Moderne, Londres © Rebecca Horn / ADAGP, Paris 2019 © Rebecca Horn / ADAGP, Paris 2019 © Jacques Faujour - Centre Pompidou, MNAM-CCI /Dist. RMN-GP © Tate, London 2019 © droits réservés © Rebecca Horn / ADAGP, Paris 2019

[Liane Daydé : photographies / Serge Lido], 195.-196.

31 REBECCA HORN THEATRE OF METAMORPHOSES

NOTES

32 REBECCA HORN THEATRE OF METAMORPHOSES

NOTES

33 REBECCA HORN THEATRE OF METAMORPHOSES

NOTES

34 CENTRE POMPIDOU-METZ 1, parvis des Droits-de-l’Homme 57000 Metz +33 (0)3 87 15 39 39 [email protected] centrepompidou-metz.fr

Centre Pompidou-Metz @PompidouMetz Pompidoumetz

OPENING HOURS Every day except Tuesday and 1st May 01.11 > 31.03 MON. | WED. |THU. | FRI. | SAT. | SUN.: 10 am – 6 pm 01.04 > 31.10 MON. | WED. | THU.: 10 am – 6 pm FRI. | SAT. | SUN.: 10 am – 7 pm

HOW DO YOU GET THERE? Comment venir ?

Les plus courtsThe trajets viashortest le réseau ferroviaire route via the railway network.

Paris Lille Rennes Strasbourg 4:00 85’ 2:50 50’ 4:30 Metz 3:00 Nantes 4:00 4:30 Bâle Bordeaux Lyon

EXHIBITION PRICES Individual tariff: 7€ / 10€ / 12€ according to the number of exhibition spaces open Group tariff (starting from 20 persons): 5,50€, 8€, 10€ according to the number of exhibition spaces open Special price for visitors of both exhibitions in Basel and in Metz : 8€.

Profit from the numerous advantages of the Centre Pompidou- Metz’s partners with the following offers: C.G.O.S. ticket combined offer Centre Pompidou-Metz/TER Grand Est, combined offer voyage + entrance of the CFL (Chemins de Fer Luxembourgeois- Luxemburg Railways), Pass Lorraine, PassTime, Museums Pass Musées, City Pass. Beneficiaries of free entrance to the exhibitions are: active French teachers (on presentation of their professional card or their education pass duly filled out and currently valid) persons under the age of 26, students, unemployed persons registered in France and those drawing RSA or social benefit (on presentation of documentary proof less than six months old), artists members of the Maison des artistes, handicapped persons and one accompanying person, Holders of the Elderly persons minimum compensatory allowance, interpreter -guides and national lecturers, holders of Icom, Icomos, Aica and Paris Première cards, holders of a press card.

Traduction : Christopher Bayton PRESS CONTACTS

CENTRE POMPIDOU-METZ AGENCE CLAUDINE COLIN Regional press National and International press Marion Gales Pénélope Ponchelet Phone number: +33 (0)3 87 15 52 76 Phone number: +33 (0)1 42 72 60 01 [email protected] [email protected]