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Referencing mythical, historical, literary and spiritual imagery, Horn invokes these bodily concerns with such objects as violins, ladders, pianos, feather fans, metronomes and drawing machines. She is best known for such works as "Pencil Mask" (1972), which looks like an instrument of torture, but which actually transforms the wearer's head into an instrument for drawing.

Das Projekt 'Kritik der Fotografie' versteht sich als theoretische Bestimmung der Fotografie, die über die bislang vorliegenden kunst- und medienwissenschaftlichen Ansätze hinausgeht. Erstmals werden die konstitutiven Elemente des Mediums, die die Fotografie von anderen Bildmedien unterscheidet, ermittelt und gefasst und damit eine eigenständige Fototheorie installiert. Materielle Grundlagen sind die Hervorbringungen der Frühzeit in den 1830er und 40er Jahren, die0im Kontext der Entwicklung apparativer Bildmedien sowie naturwissenschaftlicher und kultureller Setzungen in den Bereichen0Astronomie, Optik, Theater, Literatur, Ausstellungen u.a. bis zur Mitte des 19. Jahrhunderts gesehen werden. Punktuell wird auf spätere bildliche Erscheinungen bis heute sowie rezeptionsgeschichtliche Aspekte eingegangen.

This book sets out to analyse for the very first time a selection of works by international contemporary artists that reference the German-Polish border, and to draw attention to artworks created between 1990 and the early 2020s. The projects explored reference narratives of expulsion and the fluid, spectral and aesthetic nature of borders through sensory and somaesthetic perception. They examine the historical shifts of that border from the angle of changing political and societal contexts, lost homelands, expulsion of people and new political orders.00The book is the product of research in the field at the German-Polish border, interviews with artists, visits to their studios, and archival work. It employs a transdisciplinary toolbox, combining methods from art history, border (art) studies, migration studies, memory studies, geopoetics, limotrophy and more. The volume questions the double figure of dividing and sharing that finds expression in the German word "eine (Grenze) teilen", which means either to divide or to share a border: separation by a shared border and shared historical experience, regarded from two, often dissimilar perspectives. The study focuses on artistic projects ranging from photography to installation art and artistic methods from mapping to re-enacting, which address the issue of the borderland as a dynamic transition space.