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Roni Horn, Kafka’s Palindrome, 1991-94. Roni Horn’s sculpture is of its place—it is “site-dependent,” in that it is responsive to the space in which it is located. In 1989, Horn began making sculptures featuring text, thus combining language, form, and material. These works, with strong references to the landscape, are contingent on the position of the spectator, as they may only be fully comprehended when one walks around them. For Kafka’s Palindrome, Horn embedded this excerpt from Franz Kafka’s Diaries 1910–1923 into the four sides of a trapezoidal aluminum form: “It would be enough/to consider the spot/where I am as/some other spot.” Consistent with Horn’s use of text, language functions empirically and physically—what the words mean is inseparable from what they are. (MOCA Los Angeles) (Submitted by svell) via cavetocanvas:

Roni Horn, Kafka’s Palindrome, 1991-94.

Roni Horn’s sculpture is of its place—it is “site-dependent,” in that it is responsive to the space in which it is located. In 1989, Horn began making sculptures featuring text, thus combining language, form, and material. These works, with strong references to the landscape, are contingent on the position of the spectator, as they may only be fully comprehended when one walks around them. For Kafka’s Palindrome, Horn embedded this excerpt from Franz Kafka’s Diaries 1910–1923 into the four sides of a trapezoidal aluminum form: “It would be enough/to consider the spot/where I am as/some other spot.” Consistent with Horn’s use of text, language functions empirically and physically—what the words mean is inseparable from what they are. (MOCA Los Angeles)

(Submitted by svell)

via cavetocanvas:

Source hauserwirth.com

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