Roni Horn

Roni Horn believes in the hard boundary between oneself, ones work and the audience. This makes way for inhibitions in the works of dialogue with Horn’s surroundings. With water, Horn feels like he has discovered it again, and again, and continues to discover it now. He has always been drawn to the Thames, as it is the urban river with the highest appeal of foreigners committing suicide, because of is psychological and physical darkness. Yet, even though and also because of this darkness, Horn finds the Thames beautiful, and each photo captured is as individual as a portrait.
An exhibition of his is held within the buildings of a university in Poland. Each of the 80 photographs flows like the students and the exhibition is a discovery process which, depending on daily journeys, could take years to complete.
For a small project, Horn lived in a lighthouse in order to read, draw and watch the weather for a couple of months. This was in order to just be there, which was found to be difficult after a short amount of time. Out of this stay, a book was created of portraits of one woman, showing that a face can be a place, with water becoming an important part of this. Over the two months, a kind of trust was built between model and photographer.
As Horn was drawn to water, this also included swimming pools. While photographing a swimming pool, Horn came across a swimming pool locker room with an endless tiled walls. Within these, doors were placed with peepholes that gave a voyeuristic element to the locker rooms. These photographs were shot like a chessboard.
Another long term project that Horn was part of was a series of postcards with their niece showing This is Me, This is You. Within a book, photographs documented three years, and showed two photographs that were taken moments after another – one at the front of the book and the other placed at the back. This led to the two-faced and two-sided aspect of exhibitions. Within one exhibition, pieces were stood up from the floor, having two different photographs on either side, and make the viewer move through the space. Within this exhibition, photographs of a clown were also shown, that were all psychological, photographic and symbolic to Horn.
Horn’s work is more language than visual, and often finds that they travel through the language to get to the visual. Horn wants to be part of the unknown.

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