This idea of the body as a feast, it stems from Giuseppe Arcimboldo, moves to Viennese artists like Günter Brus, and then you have Salvador Dalí of course, then much later, Marina Abramović and Ulay, with their nude series in… — Rebecca Horn Copy Share Image
Sometimes I go to sleep thinking, "I don't like this painting." But then I wake up in the morning, look at it again and… — Rebecca Horn Copy Share Image
I met Méret Oppenheim when I was a very young artist just coming to New York. She really liked my early films and showed them in her beautiful old cinema in Bern, Switzerland when I didn't have the money to go back. But, "fear-love," this really means "shy love." It's about holding something back. With Méret, there was nothing oppressive… — Rebecca Horn Copy Share
Of course at that time, especially here in America, we were dealing with women's liberation. Things weren't so easy then. Méret Oppenheim wasn't so… — Rebecca Horn Copy Share Image
You try not to talk about the past too much as an artist. Instead, you focus on the continuity of your work. — Rebecca Horn Copy Share Image
I always did drawings. Then, few years ago, I started working with large-scale paper. It's an extension of performance, because the pieces are the size of my full body. I use pencils, acrylic, watercolors, and I also incorporate textual messages. I did most of them in a monastery in Spain at the top of a mountain. I lived there a… — Rebecca Horn Copy Share
Méret Oppenheim was a very erotic woman. She also liked provocation, and if you could provoke surrealists at the Cabaret Voltaire in Zurich, or… — Rebecca Horn Copy Share Image
This idea of the body as a feast, it stems from Giuseppe Arcimboldo, moves to Viennese artists like Günter Brus, and then you have… — Rebecca Horn Copy Share Image
Méret's Oppenheim art was aesthetically beautiful. Drinking champagne and eating a cherry off some tits, this is no big deal really. — Rebecca Horn Copy Share Image
