REBECCA HORN
Die Pfauenmaschine / The Peacock Machine
11 June to 20 August 2022
The summer of 2022 marks the 40th anniversary of Rebecca Horn’s iconic work, "Peacock Machine", following its unforgettable debut at documenta 7 in Kassel in 1982. In celebration of this occasion, Galerie Thomas Schulte is exhibiting the "Peacock Machine" in the gallery’s Corner Space, recreating the small temple-like structure in which it was originally shown.
It was during filming in the Medici Villa Garden that the transition of the artist from performance to machine work was sparked. As Horn describes, watching the peacocks who lived in the garden, she observed that male peacocks develop their magnificent tail feathers throughout the year, only to display them in their full growth during the four-week mating season. By September, peacocks will have fully shed their feathers. It was the disappointment she felt after watching peacocks lose their feathers, which prompted Horn to construct her first peacock machine.
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Work:
Rebecca Horn
Pfauenmaschine (Peacock Machine), 1982
Aluminum, steel, motor
320 x 500 cm
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Video produced by Marco Funke
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#rebeccahorn #peacockmachine #documenta7 #documenta #fredsandback @fred_sandback_archive #galeriethomasschulte
ALLAN MCCOLLUM
Works: 1970-1973
Over the course of his decades-spanning artistic practice, Allan McCollum has often worked serially — facilitating a continuous buildup of numerous smaller, individual parts — through simple yet painstaking tasks executed in repetition. In the process, abstract motifs or silhouetted shapes emerge that seem to make specific references, while remaining open to broader interpretation. Through his use of raw, household and industrial materials (dye, bleach, caulking, etc.) in the early works, processes of production also remain visible in the final outcome.
This is vividly materialized in the Constructed Paintings series. The paintings are formed from strips or squares of canvas that have been individually dyed and stained and subsequently adjoined using rubberized caulking. The overall appearance suggests a quilt, a mosaic, tiling or brickwork – an architectural quality that highlights the paintings’ built-up nature. Their constructedness is also perceptible in the thick, raised lines of caulking at the seams and fraying around the edges. In their somewhat messy, unfinalized appearance and pieced-together approach, their construction not only seems incomplete, but also as though it could continue infinitely.
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Work:
Allan McCollum
If Love Had Wings: a Perpetual Canon, 1972
Canvas squares, lacquer stain, varnish, silicone adhesive, caulking
277.5 x 839.5 cm
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Video by @stefanhaehnel
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#allanmccollum #mattmullican #works1970-1973 #bleachpaintings #constructedpaintings #yourfate #galeriethomasschulte
ALLAN MCCOLLUM
Works: 1970-1973
Over the course of his decades-spanning artistic practice, Allan McCollum has often worked serially — facilitating a continuous buildup of numerous smaller, individual parts — through simple yet painstaking tasks executed in repetition. In the process, abstract motifs or silhouetted shapes emerge that seem to make specific references, while remaining open to broader interpretation. Through his use of raw, household and industrial materials (dye, bleach, caulking, etc.) in the early works, processes of production also remain visible in the final outcome.
This is vividly materialized in the "Constructed Paintings" series, on show now at the Galerie Thomas Schulte. The paintings are formed from strips or squares of canvas that have been individually dyed and stained and subsequently adjoined using rubberized caulking. The overall appearance suggests a quilt, a mosaic, tiling or brickwork – an architectural quality that highlights the paintings’ built-up nature. Their constructedness is also perceptible in the thick, raised lines of caulking at the seams and fraying around the edges. In their somewhat messy, unfinalized appearance and pieced-together approach, their construction not only seems incomplete, but also as though it could continue infinitely.
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Work:
Allan McCollum
Deep Connections, 1973
canvas, silicone adhesive, acrylic
116 x 617 cm
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Video by @stefanhaehnel
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#allanmccollum #mattmullican #works1970-1973 #bleachpaintings #constructedpaintings #yourfate #galeriethomasschulte
REBECCA HORN
59TH BIENNALE DI VENEZIA
THE MILK OF DREAMS
CURATED BY CECILIA ALEMANI
23 APRIL TO 27 NOVEMBER
On display in the Arsenale at the Venice Biennale is Rebecca Horn's historic work Kiss of the Rhinoceros from 1989. In her work Kiss of the Rhinoceros, two giant metal arms, each with an iron rhinoceros horn at the tip, form an almost complete circle. The arms move slowly toward each other, and when the horns touch at the apex of the circle, sparks leap up between the horns toward the ceiling. The work is part of the Seduction of the Cyborg section, one of five thematic presentations that brings together works by artists and cultural practitioners from different times, geographies and movements. Seduction of the Cyborg creates a historical context for the themes and issues raised in The Milk of Dreams. After 1980, 1986 and 1997, this is Rebecca Horn's fourth participation in the Biennale di Venezia.
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Work:
Rebecca Horn
Kiss of the Rhinoceros, 1989
Steel construction, aluminum, motors, and electronic device
390 x 540 x 60 cm
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Film by Marco Funke
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#rebeccahorn #kissoftherhinoceros #biennalearte2022 #illattedeisogni #themilkofdreams #labiennaledivenezia @labiennale #galeriethomasschulte
ART DÜSSELDORF
8 TO 10 APRIL
Featured artists:
Alfredo Jaar
Leunora Salihu
Rebecca Horn
Paco Knöller
Franka Hörnschemeyer
Michael Müller
Jonas Weichsel
Julian Irlinger
Hamish Fulton
Angela de la Cruz
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Rebecca Horn
‘Zimbel Zen’, 2006
Shell, steel, tibetan cymbals, leather, motor, electronic device
50 × 25 × 35 cm | 19 ⅔ × 9 ¾ × 13 ¾ in
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#artdüsseldorf @artduesseldorf #alfredojaar #leunorasalihu #rebeccahorn #pacoknöller #frankahoernschemeyer #michaelmueller #jonasweichsel #julianirlinger #hamishfulton #angeladelacruz #galeriethomasschulte
ART DÜSSELDORF
8 TO 10 APRIL
Featured artists:
Alfredo Jaar
Leunora Salihu
Rebecca Horn
Paco Knöller
Franka Hörnschemeyer
Michael Müller
Jonas Weichsel
Julian Irlinger
Hamish Fulton
Angela de la Cruz
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Rebecca Horn
‘Zimbel Zen’, 2006
Shell, steel, tibetan cymbals, leather, motor, electronic device
50 × 25 × 35 cm | 19 ⅔ × 9 ¾ × 13 ¾ in
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#artdüsseldorf @artduesseldorf #alfredojaar #leunorasalihu #rebeccahorn #pacoknöller #frankahoernschemeyer #michaelmueller #jonasweichsel #julianirlinger #hamishfulton #angeladelacruz #galeriethomasschulte
ARCO Madrid, Booth 9B06
23 to 27 FEBRUARY
We are looking forward to seeing you during ARCO Madrid 2022. Here is a first look into our presentation. Stay tuned, as there will be Instagram Live Tours of our booth during the fair!
Featured Artists:
Angela de la Cruz
Richard Deacon
Hamish Fulton
Rebecca Horn
Alfredo Jaar
Paco Knöller
Maria Loboda
Gordon Matta-Clark
Allan McCollum
Iris Schomaker
Juan Uslé
Jonas Weichsel
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@angeladelacruzstudio #angeladelacruzstudio #richarddeacon @a.walking.artist #hamishfulton #rebeccahorn #alfredojaar #pacoknoeller @marialoboda000 #marialoboda000 #gordonmattaclark #allanmccollum @iris_schomaker.studio
#iris_schomaker.studio #juanusle @jonas_weichsel #jonas_weichsel
Currently on view at the gallery is a solo exhibition by Julian Irlinger, "Subjects of Emergency" which is dedicated to the reconstruction of a historical relation between aesthetics and ideology in artistic production. The artist’s source material is banknotes of the emergency currency which circulated during inflation in Germany (1918-1923) as a parallel currency to the Mark of the Reichsbank. Printed on the bills were pictures by artists, which often had political backgrounds. The details of the money reproduced by Irlinger have a seductive quality and show a subtle sense of humor as well as the dark side of the pop culture of the Weimar Republic.
Photos: hiepler, brunier,
Currently on view is a comprehensive solo exhibition showing early works by American artist Alice Aycock. After studying with Robert Morris at Hunter College, during the 1970s Aycock was one of the youngest members during the 1970s of the circle of artists around Gordon Matta-Clark and New York’s legendary 112 Greene Street Gallery. In the context of Land Art and Postminimalism, in the early years of her career, Aycock created a series of pioneering installations comprising wood, stone, and concrete and moving between sculpture, architecture, and landscape. This exhibition not only features two of these early installations, but also drawings and photographs from her important early projects, including her contribution to documenta 6.
Photos: hiepler, brunier,
