- HORN REBECCA, Performances, 1968-1973.
The photos document performances which he took place in the years 1968-72 (73?). For each performance the number of participants was limited, because intense interpersonal perception is only possible in a small circle of people. Each situation should result in dissolving barriers between passive spectators and active performers. There should be only participants. Each performance has a central figure, who functions as a starting point and the goal of the activity. What the central figure wears provides a means of communication among the participants. The performer’s central position on which concentration is focused places him in a kind of “initiation ritual.“ The process begins before the actual performance. The performer’s personality, his idiosyncrasies determine the shape of a particular performance. The basis of the performance, then, is a specific relationship. During this relationship a framework of desires, fantasies and projections becomes apparent, suggesting particular ways for the presentation of a person. The “garment“ is constructed on and fitted to the body of the person who will wear it. As his body is fitted into this mould and as he wears it, time after time identification begins to develop. This psychological mechanism is essential for the performance. During the performance the person is isolated, separated from his everyday enviroment (in some pieces the performer is naked). This specialised area is used to further self-perception. These performances, then, are attempts at new models of interaction rituals. » (see Lea Vergine, p. 114)
- HORN Rebecca, Cockfeather Mask for Dieter, 1973.
« The cockfeathers are attached to a replica of my profile, half an inch wide, which is strapped on my head. With the feathers I caress the face of a person standing close to me. The intimate space between us is filled with tactile tension. My sight is obstructed by the feathers – I can only see the face of the other, when I turn my head, looking with one eye like a bird. » (see Lea Vergine, p. 115)