
Tsai Yin-Chin Book Art Researcher/Curator
Winsing Art Place (No. 6, Lane 10, Lane 180, Section 6, Section 6, Minquan East Road, Neihu District, Taipei City)
$500 (including bookstore entrance fee and a cup of hand-brewed coffee)
The talk aims to comprehensively analyze the relationship between American artist Roni Horn's artists' books and their creation, exploring how artists form a series of post-minimalist forms through the material conditions of the books and their generation, to form a series of post-minimalist forms of perceptual engagement: incorporating weather, literature, poetry Within the textual writing and visual scheduling of the booklet, topics such as humans and nature invite the audience/reader into the personal emotions and psychological aspects of the artist's layout through dynamic affability and the linguistic characteristics of the reading.
“I have always felt androgyny as central to my relationship with both myself and the work. As far as an individual's experience with a given work goes, I throw the issue of self-identity back out to the viewer.” - Roni Horn
Mark B. Godfrey, a British art historian who was curator of the Tate Modern Art Museum, noted in Roni Horn's Icelandic Encyclopaedia in 2009 that the To Place series is a collection of books from Ed Ruscha in the 1960s. and the industrial buildings of Bernd & Hilla Becher One of the most important works of the artist's books since publication, it has become a paradigm for contemporary artist bookmaking that continues to have an impact.
We can say that not knowing Horn's artist's book work makes it difficult to get to the heart of her creative concepts, and she once mentioned in an interview: “The To Place series of books are the gateway to all my work and are very important to me.” Published in a total of eleven volumes from 1990 to the present, the series chronicles the artist's long-term interaction with Iceland: exploring issues such as identity, natural ecology, and specific sites through photographs of the region's landscapes, geology, glaciers, water and people.
The lecture will showcase Ronnie Horn's more than thirty years of artist's book series and discuss research on four key themes: the Icelandic Encyclopaedia, the Autobiographical Dictionary, the Imaginative Texts on Water, and Handbook of Portrait Identity), attempts to unravel the metaphorical and symbolic linguistic structures that the artist composed in the book.
While the bookstore salon is being held, the workshop on the first floor is hosting a solo exhibition by artist Roni Horn (1955-). Horn's work is filled with ambiguous non-binarity, elusive uncertainty, and indistinguishable duality. This concept of androgyny is not only related to her own gender identity but also signifies a blurring of differences and boundaries. She extensively uses text, language, and autobiographical objects and images to create paintings, photographs, sculptures, installations, and artist books, establishing a coexistence between herself, the audience, and the space through her work.
Horn's works often exist in the forms of both exhibition and artist book, without prioritizing one over the other. This dual presentation provides more angles for the audience: books offer a more intimate medium compared to exhibitions, with the act of page-turning and the distance of body posture allowing the same work to generate various ways of viewing. Artist books, under the complete control of the artist, are no longer mere supplements or carriers for other mediums; their content and external visual techniques dialectically interact, becoming independent works.
Horn emphasizes that her series of artist books on Iceland, which she has been creating since 1990, serve as the entry point for all her works and hold a crucial position in her artistic career. Returning repeatedly to the same place, drawing inspiration from uncontrollable natural environments, her fascination and imagination with water, and the encyclopedic collection of numerous moments—Horn identifies herself through writing and book creation as her engagement in the dialectic with the external world. For the artist, this is a way of existence.
