Z.t.  door Roni Horn, 2012-13









De vijf cylindrische vormen zijn van massief helder glas met ruwe ‘schil’ en spiegelgladde en daardoor transparante bovenkant. Het lijken hulsvormen gevuld met water. Horn werkt veel met het motief water, in een interview in 2005 zei ze ondermeer: “Aside from the physical, sensual reality of water, the thing that I love is its paradoxical nature. I never intended to have water in everything I do, but I almost feel like I rediscover it again and again. It just finds its way back into new work.


Water is a very dependent form. It’s completely dependent; its shape is determined by things not water, whether it’s a river or a glass. So, you have this essential material that is entirely dependent on its neighborhood and its neighbors. It’s also an extremely tolerant form, meaning that it’s a solvent for many things. So, everything finds its way into water. And water can still be water and accommodate a lot of different presences.


The big paradox is: ‘How does it still keep its transparency?’ That’s what I’ve wondered about. The water you drink—who knows how many times it’s been around the world?—and its appearance is still wildly constant. Obviously, it’s dependent on light and weather and all of these things. But water in the glass looks like water halfway around the world. It’s pretty much identical.”









Horn: “So, there is this interesting aspect of the constancy of water and its multifarious expression, geologically and so on. You have an identity that has an endlessly changing appearance. Or you have an identity that has an endlessly constant appearance. It has both of these things. I think of water as a verb; I think of it as something one experiences in its relationship to other things.” Horn stelt zichzelf steeds vragen over haar eigen identiteit.


De museum-informatie: De grondslag van al Horns werken ligt in identiteit, de ongrijpbare veranderlijkheid van identiteit. Zij is zelf androgyn (ze voelt zich niet specifiek een vrouw maar ook geen man, net als haar naam). Wat dat betreft heeft zij geen eenduidige identiteit en water symboliseert dat voor haar.







De jaren van onschuld


Horn heeft het werk zonder titel een soort motto meegegeven: "The immense accretion of flesh which had descended on her in the middle of life like a flood of lava on a doomed city had changed her from a plump active little woman.. into something as vast and august as a natural phenomenon. She had accepted this submergence as philosophically as all her other trials, and now, in extreme old age, was rewarded by presenting to her mirror an almost unwrinkled expanse of firm pink and white flesh, in the center of which the traces of a small face survived as if awaiting excavation."


De kunstenares geeft vaker literaire citaten mee, de bovenstaande komt uit het boek ‘The Age of Innocence’ van Edith Wharton (1920). Daarin wordt de hoofdpersoon gemangeld tussen verlangen en wat maatschappelijk wenselijk is.





Roni Horn (1955)










Museum Voorlinden, Wassenaar


Foto’s: 2017




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