Crowd Cloud
Keeping the human voice at its core, Crowd Cloud distils the vowels of the Japanese language, creating a unique composition that emanates from a choir of dozens of standing horns that converse with each other like people waiting for friends and relatives. Crowd cloud is designed to provide a welcoming experience in what is often a soulless public space, momentarily turning visitors into audience members as they pass by en route to the next part of their journey.

La Vie En Rose II
“There is a saying that life is a thorny path. The title of the work, La Vie En Rose, reveals the situation paradoxically. Life doesn’t always go as planned. Going forward in life can be a struggle comparable to walking through impenetrable brambles in a dark forest. Here, both big and small difficulties we face on our journey are evoked by the thorns growing out of the walls. These elements also recall the my childhood memories in the countryside, picking up berries and getting pricked by their thorns while the character in the work represents our own selves, as we must overcome these obstacles.
In this second version of La Vie en Rose, I wanted to express a change in the mind of the main character.” JeeYoung Lee

The welcome chorus
The Welcome Chorus is an interactive installation that brings together sound, sculpture and artificial intelligence (AI). Commissioned by Turner Contemporary for Margate NOW festival, the sculpture consists of twelve horns, each representing a different district of Kent. Each horn continually sings lyrics which are generated live by a uniquely trained, site-specific piece of AI software. Symbolically and aesthetically, these sculptural forms reference the origin of the word ‘Kent’; thought to derive from the word ‘kanto’, meaning horn or hook.

ג’רג’ ליגטי
Дьердь Лигети
ジェルジ·リゲティ
Le Grand Macabre
In the mid-70s, Ligeti wrote his only opera, Le Grand Macabre, loosely based on the 1934 play, La Balade du grand macabre, by Michel De Ghelderode. It is a work of absurd theatre that contains many eschatological references.After having seen Mauricio Kagel’s anti-operatic work Staatstheater, Ligeti came to the conclusion that it was not possible to write any more anti-operas.[citation needed] He therefore resolved to write an “anti-anti-opera”, an opera with an ironic recognition of both operatic traditions and anti-operatic criticism of the genre. From its brief overture, a mixture of rhythmic sounds scored for a dozen car horns, to the closing passacaglia in mock classical style, the work evolves as collage of sonorities ranging from a grouping of urban sounds to snippets of manipulated Beethoven, Rossini and Verdi.

whispers
Blue lightening discs seem to hang freely in a darkened space. They’re the horns of five more than man-sized ceramic trumpets, arranged in various directions. The white inside is radiated with blacklight, as it turns out when your eyes have adapted to the darkness. The horns transmit words, fragments of sentences, laughter, alternated with noise and a strange crackles and sputters. Each trumpet has it’s own repertory of expressions, of which the meaning is hard to probe. And each has it’s own characteristic sound, due to their difference in length.

Crown Of Thorns

Elisabeth Wierzbicka painter and sculptor, was born in Cracow in 1964. She studied at the Cracow Academy of Fine Art from 1984-1989. In 1989 she continued her training at the Ecole Superiore of Fine Art in Paris and started her career as an international artist in several countries.She works with memory and identity, erasing and dividing time, nature and coexistence.
The ability of the artist is to transform and transcend reality apparently common and banal, in a powerful and evocative potential for stimulating the imagination.

ريبيكا هورن
רבקה הורן
レベッカ·ホルン
레베카 호른
Ребекка Хорн
Concert for Anarchy
Wenn Sie zu Rebecca Horns Konzert für Anarchie aufblicken, einem Flügel, der kopfüber von der Decke hängt, fällt er plötzlich herunter und verschüttet seine Tasten mit einem Zusammenprall nicht übereinstimmender Noten. Das Klavier setzt sich langsam wieder zusammen, um die Aufführung zu wiederholen. Horn gibt Objekten neues Leben, setzt sie in ungeraden Kombinationen zusammen und animiert sie mit Motoren. Ihre Kunst entwickelt sich aus der von Marcel Duchamp und Joseph Beuys in ihrer Verbindung von Objekten und Performances und ihrem Spiel mit Erotik und Sinnlichkeit.
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