La aclamada artista Roni Horn, establecida en Nueva York y galardonada con el Premio Joan Miró en 2013, es conocida por articular su obra entorno al conceptualismo y desde medios muy diversos. Horn presenta su primera exposición individual en Menorca, mostrando una selección de esculturas e instalaciones que interactúan con los espacios históricos de la galería y el entorno natural. Pese a la diversidad de medios de la que hace gala, sus obras aluden siempre a temáticas de largo recorrido que guían su permanente estudio poético sobre la naturaleza mutable de la identidad, el significado y la percepción. Una ambiciosa instalación de contundentes esculturas de vidrio fundido invita al público a presenciar la interacción entre la luz y el tiempo. La exposición, que ocupa la galería sur, recoge también piezas inspiradas en los versos de Emily Dickinson y obras en oro y cobre de series clave en las que la artista lleva trabajando desde la década de 1990.
En el centro de la exposición se encuentra ‘Untitled (“A witch is more lovely than thought in the mountain rain.”)’, una cautivadora colección de nueve esculturas circulares realizadas en vidrio fundido macizo. Horn comenzó a estudiar y producir esculturas de vidrio a mediados de los años noventa, siguiendo un proceso que consiste en verter vidrio fundido coloreado en un molde y dejar que se endurezca gradualmente a lo largo de varios meses. El resultado es una escultura muy rica en texturas: los laterales son rugosos y reflejan la impresión del molde utilizado, mientras que la parte superior está pulida al fuego y es lisa y brillante, emulando un charco de agua cristalina.
Sobre las esculturas de vidrio colado, la propia Horn ha manifestado: ‘Lo que me fascina tiene mucho que ver con esa esencia de las cosas que tienen una apariencia pero que en realidad son algo completamente distinto’. Las esculturas parecen estar en constante cambio, en conversación con la naturaleza a través de las claraboyas y ventanas y con la presencia del público en el espacio arquitectónico. Las gradaciones de luz y sombra activan las obras, creando un diálogo entre solidez y fluidez, opacidad y transparencia. Así, las esculturas de vidrio de Horn plasman la esencia de su práctica: indagar en la relación entre mutabilidad y lugar.

La incertidumbre y la ambigüedad impregnan la obra de Horn, y esto se hace patente en la superficie aparentemente acuosa de las esculturas de vidrio fundido. Ocurre lo mismo en ‘Black Asphere’, una obra de cobre macizo que a simple vista se asemeja a una pelota o ‘una esfera’(en inglés ‘a sphere’). En cambio, el término ‘asphere’ alude al hecho de que no es simétrica en un eje y por lo tanto no es completamente esférica. Horn ha llegado a decir que esta obra es un autorretrato, en alusión a la experiencia de androginia de la artista y su resistencia a las etiquetas binarias.
La dualidad es otra de las herramientas temáticas que Horn explora en sus investigaciones sobre la ambigüedad y la paradoja, como se aprecia en la serie ‘Pair Objects’, realizada en cobre y acero inoxidable, o en ‘a.k.a’, donde la artista presenta retratos suyos a lo largo del tiempo organizados de dos en dos. En estas obras, el emparejamiento de objetos potencialmente idénticos ahonda en las complejidades de la identidad y la unidad, la diferencia y la duplicidad. En la exposición de Menorca, la escultura de oro puro ‘Double Mobius, v. 2’ muestra dos cintas en forma debanda de Möbius, una forma geométrica que parece tener dos caras, pero que sólo tiene una. La pieza elimina las capas de significado cultural asociadas al oro y permite al público visitante experimentar el material real,en forma de tira, para denotar al mismo tiempo intimidad e infinitud.
La literatura juega un papel fundamental en la práctica de Horn, plagada de referencias literarias tanto en los títulos como en las propias obras. Mientras que la instalación de piezas de vidrio se titula ‘A witch is more lovely than thought in the mountain rain’ por un poema de Joan Murray, tres esculturas de la serie ‘Key and Cue’ recogen los primeros versos de poemas de Emily Dickinson,a quien Horn ha dedicado varias creaciones.
En ‘Key and Cue’, Horn utiliza los versos como enunciados independientes para crear un patrón que recuerda a un código de barras y que se extiende por las cuatro caras de la obra, haciendo imposible verlos o leerlos todos a la vez. En estas piezas, Horn convierte el texto en imágenes para invitarnos a pensar el lenguaje como escultura, desprovisto, por tanto, de su significado. En palabras de Horn: ‘No considero que el objeto, lo material o lo producido sea la culminación de una obra. El objetivo último es siempre la experiencia, lo que significa que el público, el individuo, forma parte integrante del valor de la obra’.

Este año, la obra de Roni Horn puede verse en ‘Roni Horn. Give Me Paradox or Give Me Death, ’Museum Ludwig (23 de marzo – 11 de agosto);en Hauser & Wirth New York Wooster St. (a partir del 4 de abril); en ‘Roni Horn. The Detour of Identity,’ Louisiana Museum of Modern Art (2 de mayo– 1 de septiembre); y en Hauser & Wirth Menorca (11 de mayo – 27 de octubre).
Sobre la artista
La obra de Roni Horn se caracteriza por la incertidumbre y la imposibilidad de concluirla. En toda su obra es importante su interés por la naturaleza mutable de la identidad, el significado y la percepción, así como la noción de duplicidad, cuestiones que siguen impulsando su trabajo.
Entre sus exposiciones individuales más recientes encontramos ‘Roni Horn. Me paraliza la esperanza’ en el Centro Botín de Santander, España (2023), ‘Roni Horn: A dream dreamt in a dreaming world is not really a dream… but a dream not dreamt is’ en He Art Museum, Shunde,China (2023), ‘Félix González-Torres / Roni Horn’ en Bourse de Commerce – Col·lección Pinault deParís, Francia (2022), ‘Roni Horn: When You See Your Reflection in Water, Do You Recognize theWater in You?’ en Pola Museum, Hakone, Japón (2021 – 2022), ‘Roni Horn. You are the Weather’en Fondation Beyeler, Riehen, Suiza (2020), ‘Roni Horn: When I Breathe, I Draw, Part I’, en Menil Collection, Houston TX (2019), ‘Roni Horn’ en Glenstone Museum, Potomac MD (2017), ‘Roni Horn’en Fondation Beyeler, Basel, Suiza (2016), ‘Roni Horn’ en de Pont Museum, Tilburg, Países Bajos(2016), ‘Roni Horn. Butterfly to Oblivion’ en Fondation Vincent van Gogh, Arles, Francia (2015),‘Roni Horn. Butterfly Doubt’ en Hauser & Wirth London (2015), así como ‘Roni Horn. “Everything was sleeping as if the universe were a mistake” que viajó de Hauser & Wirth Nueva York 18thStreet (2013) a la Fundació Joan Miró de Barcelona (2013) y el Caixa Forum de Madrid (2014).
Sus obras se exponen en importantes colecciones y museos de todo el mundo, como el Guggenheim Museum y el Museum of Modern Art de Nueva York, Estados Unidos, el Art Institute of Chicago, Estados Unidos, la Tate Modern de Londres, Renio Unido, Kunsthalle Hamburg de Alemania, Kunsthaus Zürich, Suiza y el Centre Georges Pompidou de París, Francia.




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