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拍品专文
'These are objects to which the words platonic and pure would not be inappropriate. But that is only true if you consider them as objects in themselves. The installation of these forms reflects an acute awareness of circumstantial reality. In this sense, they cannot be taken simply as objects in themselves. There is also the issue of their being a pair.
That is, the pair form, by virtue of the condition of being double, actively refuses the possibility of being experienced as a thing in itself. The simple state of doubleness includes, as integral, the space or interval between. So twice over, this work insists on a recognition of circumstance...The viewer walks into the first room and sees the first object. Experienced as a unique thing. Walking into the second room, an identical object is present in an identical relation to the world. The viewer runs through a very complex narrative in real time which is the experience of the work itself.
Basically, I'm talking about things which are formally redundant and experientially cumulative. The narrative involves the recognition of uniqueness through the sequential experience of things which are identical. Then the subsequent and irreversible loss of the unique identity. Obviously the notion of being identical is a purely ideal one since when you have two things, no matter how perfect the identity, you always have a this and a that, a here and a there.' (M. Thompson, 'Roni Horn', in BOMB Magazine, Issue 28, Summer 1989, unpaged).
That is, the pair form, by virtue of the condition of being double, actively refuses the possibility of being experienced as a thing in itself. The simple state of doubleness includes, as integral, the space or interval between. So twice over, this work insists on a recognition of circumstance...The viewer walks into the first room and sees the first object. Experienced as a unique thing. Walking into the second room, an identical object is present in an identical relation to the world. The viewer runs through a very complex narrative in real time which is the experience of the work itself.
Basically, I'm talking about things which are formally redundant and experientially cumulative. The narrative involves the recognition of uniqueness through the sequential experience of things which are identical. Then the subsequent and irreversible loss of the unique identity. Obviously the notion of being identical is a purely ideal one since when you have two things, no matter how perfect the identity, you always have a this and a that, a here and a there.' (M. Thompson, 'Roni Horn', in BOMB Magazine, Issue 28, Summer 1989, unpaged).