Horn has been known for her performance works involving the wearing of feathers, horns, and mirrors. Since her participation in the 1972 Documenta show in her 20s, she has energetically pursued a range of artistic activity that continues to tackle new territories of art, one after the other—beginning with kinetic sculpture as well as film, and continuing on to capture the fascination of a great number of people—audiences with an interest not only in visual art, but that include film and dance enthusiasts as well. Her performances, which began in the late 1960s, sought to expand the functions of the human body, improve communications with others, and develop a rapport with mythical animals and nature. The devices that attached to the body and enhanced its physical perceptions were first used in performance, then eventually developed into independent, kinetic-mechanical sculptural works. Later, in what amounted to over ten years of life in New York, Horn undertook the production of highly narrative, full-length films, and incorporated the sculptures and movements from her earlier work into this new context of film, transforming their significance. Since the 1980s, after moving back to her home country of Germany, Horn’s work that directly confronts modern historical issues has been acclaimed for its ability to tie together personal experience and social memory. One early example of this work involves the conversion of the interior of an abandoned tower in the city of Münster into a piece that utilizes its history as the subject matter. In recent years, Horn has been working on largescale installations and stage designs using music composed by Hayden Chisholm. She has also made, without the use of tools, a series of unrestrained drawings that emphasize direct human movement, developing a completely free mode of creation. This exhibition is a full-scale presentation of Horn’s work. With all representative film footage, which includes the performance records from the 1970s and the full-length narrative films from the 1990s, as well as installations and two- and three-dimensional works that she has been producing since the 1990s, a total of forty exhibits allows one to trace the development of relationships between the various media in which Horn works. The flow of various invisible energies of humans and nature are transformed into visible form via movement, light, and the traces of such. The exhibition promises to be an unparalleled opportunity to experience this highly original, creative trajectory in MOT's vast space. Artist Talk: Rebecca Horn x Hayden Chisholm (Composer); October 31, 2009 14:00 start at MOT B2F * The text provided by Museum of Contemporary Art Tokyo.