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A Face Encountered: Roni Horn’s You Are The Weather Barbara Garrie
You are the Weather is composed of a series of 100 colour, and black and white photographs grouped into sequences of between five and eight images which are then hung, frieze-like, around the four walls of the gallery space. Each image is a tightly cropped portrait of Icelandic woman MargrĂŠt HaraldsdĂłttir who was photographed by Horn over a six-week period in Iceland. MargrĂŠt is repeatedly pictured in many of the outdoor hot springs that are scattered across Iceland, submerged to her neck or shoulders in these pools of water.
!#% -#.3-2%0%$ .-) .0-91 You are the Weather Barbara Garrie
Having been represented in major exhibitions including ‘Documenta IX’ (1992) and the ‘Venice Biennale’ (1997), and having participated in important collaborations with artists such as Donald Judd and Felix Gonzalez-Torres, American artist Roni Horn has established a reputation as a key figure in recent art practice. Since graduating with an MFA in sculpture from Yale University in 1978 she has built up a diverse body of work that traverses a range of different idioms, including sculpture, photography, drawing, installation and text based works. Notions of identity, place and the experiential nature of her work have been important and recurring themes in her practice. A major survey exhibition of Horn’s work will be on show at London’s Tate Modern from 25 February – 25 May 2009.1 This essay focuses on Horn’s work You are the Weather (1996), which is probably one of her best-known photographic installations and a work that provides an interesting point of entry into her artistic practice, exemplifying many of the issues and tendencies that are central to her oeuvre. Drawing on the phenomenological writings of Maurice Merleau-Ponty, I will situate Horn’s photography as an embodied practice that functions through an open-ended and mutual engagement between the real or literal space of the photographic object and the visual space of the photograph as image. Although these concerns have been broadly discussed by a number of commentators – Jeremy Gilbert-Rolf, Thierry de Duve, Lynne Cooke and Nancy Spector among them – there has been no direct study of Horn’s practice in relation to the phenomenology of Merleau-Ponty.2 My aim here, then, is to begin to consider how photographic work such as Horn’s might be understood and conceptualized within a phenomenological framework by considering three themes present in You are the Weather: the gaze, identity, and landscape.
As a photo installation You are the Weather utilizes the space of the gallery in very specific ways. Hung at eye level, the photographs create a horizon-like effect that surrounds the viewer. The 100 images are encountered en mass, as a multitude. We are prevented from focusing on the photographs as individual images, or even images of an individual, and instead are asked to read them as a whole. What I mean by this is to suggest that it is not the image of MargrĂŠt that first meets our eyes, but rather the structure of the installation itself: the repetition of images, the alternating series of colour, and black and white, and the spaces that punctuate them.3 There is a sense of rhythm and movement that is echoed by the body of the viewer as they turn and move through the gallery. As the viewer navigates their way around the installation, the image of MargrĂŠt comes into closer focus. We begin to look more intently at her face, noticing her changing expressions; a slight smile, a creeping grimace or more contemplative gaze. The more time one spends with these photographs the more these shifts in mood become apparent. These changes are slight but they are magnified through repetition and accumulation. For Horn, this is about activating the action of seeing. Taking up the work of Edmund Husserl in the 1940s, Merleau-Ponty developed a phenomenological account of our being-in-the-world, addressing what he saw as the fundamental division in Western philosophy’s understanding of the human subject. In key texts such as The Phenomenology of Perception (1945), ‘Eye and Mind’ (1961) and The Invisible and the Visible (1964), he advanced the idea that subject and object are not separate entities but are reciprocally intertwined and interdependent.4 Within this paradigm, the body gained renewed significance. Merleau-Ponty’s work was heavily informed by accounts of perception but, crucially, he saw this perception as being located with the physicality of the body. In his own words, he argued that, since the same body sees and touches, visible and tangible belong to the same world. It is a marvel too little noticed that every movement of my eyes – even more, every displacement of my body – has its place in the same visible universe that I itemize and explore with them, as conversely, every vision takes place somewhere in tactile space.5 According to Merleau-Ponty, the body is our point of interface with the world. He articulates a ‘way of being’ that challenges the privileging of pure vision as our way of apprehending and making sense of the world. As he describes it, the ‘body is thus a way of saying that I can be seen as an object and that I try to see as a subject.’ 6 Merleau-Ponty’s theories gained renewed critical currency in the late 1960s when art critics Rosalind Krauss and Michael Fried looked to them as a way of conceptualizing current art practice beyond Clement Greenberg’s foregrounding of opticality in modern art.7 Although both
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