Rebecca Horn belongs to the first generation to use video technology to record her performances and to stage them for the camera. The focus of her work is on the body, transformed by the use of masks, feather costumes, and other things. By way of these “bodily extensions,” she creates a new, non-rational relation between the body and space, which in Bleistiftmaske is applied to the artistic act itself, a drawing. In the later work Buster’s Bedroom (1990), she turned to the cinema.
- Berlin-Übungen in neun Stücken (n.b.k. Koproduktion)
- Rebecca Horn - Performance II (Dokumentation von neun Performances)
- Rebecca Horn - Performances I (Dokumentation von acht Performances)
- 40jahrevideokunst.de (Teil 1) - Digitales Erbe: Studienedition zur Videokunst in Deutschland von 1963 bis heute