Horn’s elegant, spooky exhibitions release a wealth of sense impressions as she connects fantasies and vulnerabilities using – both her own and the viewers’ – in a highly original, creative trajectory – resulting almost in an alchemy experiment.
Can contemporary art, and moreover, conceptual art, mobilize viewers’ subjectivities in completely novel and creative ways just by transcribing ideas? Can it make the viewer free?
Suppose it is an artist who conjures up the magic – driving conceptual logic to its ultimate perception – prevailing over psychological constraints that the society as a collective is confined within. Is, then, an artist qualified to make art a tool for social progress?
Horn is imaginative and unconstrained, and capable of intimate, private, poignant, serious, and playful gestures – all in her quest to overcome the restrictions of genres.
What is unique about her representations is the concept of the self, with a focus on her own brand of contemporary culture enveloped in a blase attitude toward innovation.
To fully appreciate Horn’s works and understand the mechanism of composition one needs to view them with analytical and intellectual detachment, and in fact she invites the viewer to enter the artists’s understanding of space, combing the objective with the subjective, the concrete and the conceptual.
She stimulates the contemporary notion that the technology has overtaken the human mind and body, subjecting the human sensorium to a complex training, thus provoking a crisis of perception.
Even if her references remain troublingly enigmatic, her creations still feel natural and revelatory, offering the paradox of recognition and surprise, as she energetically pursues a range of artistic activities, gradually or simultaneously tackling new territories of art.
Contemporary art changes the way we perceive our surroundings, becoming not simply a platform that accommodates the viewing subject, but a viewing mechanism that cultivates it. Taking wild leaps of creative power, Horn awakens new and different chronological scopes and theoretical concepts, with a purpose to represent ideas that lie beyond that which is visible in empirical reality.
Toronto’s Nuit Blanche this Saturday – Oct 1st dusk til dawn – bound to be speckled with interesting conceptual art.