Roni Horn

1 | Black Yes

2000

Solid cast glass with as-cast surfaces

40.6 x 73.7 x 121.9 cm

2 | Untitled

(“At night her head, heavy with unappeased cravings, sat on her shoulders, like a coconut with its mat of monkeylike hair growing freakishly inside the shell...”)

2018 -2020

Solid cast glass with as-cast surfaces with oculus

27.9 x 121.9 cm

3 | Still Water

(The River Thames, for Example)

1999

Photographs and text printed on uncoated paper

83.8 x 111.8 x 5.1 cm approx each, 6 parts

4 | Untitled (Weather)

2010-2011

Inkjet/pigment prints on paper, mounted on Sintra

32.4 x 27.3 x 2.5cm each, 11 parts

5 | White Dickinson

THE MIND IS SUCH A NEW PLACE, LAST NIGHT FEELS OBSOLETE

2006 -2007

Solid aluminum and cast white plastic

273.3 x 5.1 x 5.1 cm

6 | White Dickinson

THE MOST INTANGIBLE THING IS THE MOST ADHESIVE

2006 -2007

Solid aluminum and cast white plastic

229.2 x 5 x 5 cm

7 | Untitled, No. 16

2018

Pigment prints

62.5 x 62.5 x 4.1 cm each, 2 units

8 | Untitled, No. 14

1998/2007

Iris-printed photographs

56 x 56 cm each, 2 units

RONI HORN

Roni Horn’s work is characterized by a sparse visual language that is often imbued with traces of her personal experiences and interpretation of her environment. Since the late 1970s, Horn has used a variety of mediums — including drawing, photography, sculpture and installation — to investigate the limits and contours of identity and perception. Horn’s experiences with the landscapes and people of Iceland, which she has visited regularly since 1975, have become one of the most enduring sources of inspiration in her practice. A playful relationship to doubling is a common touchpoint in Horn's work as well. The artist often presents her installations and photographs side-by-side or in pairs, heightening the similarities and differences between the works. Often replete with textual references—from Emily Dickinson to Flanery O’Connor and Anne Carson — Horn’s work offers a semiotic investigation into the relationship between language and material.

The exhibition at Winsing Art Place features an array of Horn’s most significant sculptures and photographs, including several cast-glass works. Horn first began to produce these sculptures in the mid-1990s and they quickly became foundational to her wider practice. To create these works, molten glass is annealed in large moulds over the course of several months. The result, which can be seen in the current series of works, are sculptures that exhibit a dynamic range of hues and luminosity, appearing at once solid and fluid. This is particularly evident in ‘Untitled (‘At night her head, heavy with unappeased cravings, sat on her shoulders, like a coconut with its mat of monkeylike hair growing freakishly inside the shell...’)’, which draws its title from a novel by Robert Musil. Another piece, ‘Black Yes’, one of her black castglass sculptures, is a counterpoint to some of the more colorful works. Like much of Horn’s oeuvre, the glass sculptures probe the ever-evolving nature of identity and the experience of transience through the transformation of nature and form.

‘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

Another series, White Dickinson, similarly reflect Horn’s enduring interest in literature. From the front, the sculptures are clearly identifiable fragments of poetry and public letters sourced from the writings of American poet Emily Dickinson. When viewed from other angles, however, the letters are abstracted and the meaning is lost, encouraging a reflection on the protean components of language and the relationship between artist and poet. “Untitled, No. 14” and “Untitled, No. 16” are part of a larger series of photographs the artist began in 1998. Both juxtapose two images (of a bird, and person’s head, respectively) to reveal the similarities and differences between the paired photographs. Meanwhile, “Untitled (Weather)” and “Still Water (The River Thames, for Example)” elicit dialogues between the viewer and the work through a string of subtle nuances in the woman's expressions and the elusive and constantly fluctuating colors and texture of the surface of the water.

Horn's works have been exhibited at an array of institutions, including the Beyeler Foundation, the Museum of Contemporary Art, Los Angeles, the Kunstmuseum Basel, the Dia Center for the Arts, the Pompidou Centre, and the Art Institute of Chicago. Recent exhibitions include ‘Félix González-Torres / Roni Horn’ at the Bourse de Commerce-Pinault Collection, ‘Roni Horn: When You See Your Reflection in Water, Do You Recognize the Water in You?’ at the Pola Museum of Art, and ‘Roni Horn — You are the Weather (Books, Drawings, Photographs)’ at the Kunsthaus Göttingen. In 2009, Tate Modern and the Whitney Museum of American Art hosted ‘Roni Horn aka Roni Horn’, a major retrospective, which later traveled to the Collection Lambert in Avignon. Her work has appeared at the Whitney Biennial, Documenta, the Venice Biennale, and the Biennale of Sydney. She was the recipient of the Joan Miró Prize in 2013 and has received awards from the New York Sculpture Center and the National Endowment for the Arts. Horn currently lives and works in New York.

RONI HORN

羅尼．霍恩的作品以簡潔的視覺語言為特徵，其中充滿了她個人經歷 的痕跡和對環境的闡述。自 1970 年代後期，霍恩透過多樣的創作媒 材 包含繪畫、攝影、雕塑及裝置 探索身份與感知的極限和輪 廓。霍恩從 1975 年開始定期造訪冰島，島上的自然風景和對人的體 驗成為她創作中最持久的靈感來源之一。雙重性關係的趣味是霍恩作 品中常見的媒介。藝術家經常以並排或成對的方式呈現裝置和攝影， 強調作品之間的相同與差異性。文本的參考也經常引用於霍恩的 創作 從艾蜜莉．狄金森、弗蘭納里．奧康納和安．卡森

了語言和材料彼此的關係。 本次在文心藝所的展覽，展出了一系列霍恩重要的雕塑及攝影，包括兩件鑄造玻璃雕 塑。著名的彩色玻璃雕塑從 1990 年代開始發展，也成為她隨後創作脈絡中的關鍵基 礎。為了製作這些作品，霍恩將熔融玻璃倒入大型模具中，並經過幾個月的退火處理。 玻璃多樣的色調和亮度，同時呈現出堅固和流動的特性，而這樣的成果可以在目前展 出的玻璃雕塑系列看到。由文心收藏的作品《 Untitled(“At night her head, heavy with unappeased cravings, sat on her shoulders, like a coconut with its mat of monkeylike hair growing freakishly inside the shell...”) 》更將這樣的特性表現的 淋漓盡致。此作品標題取自羅伯特．穆齊爾的小說，展現霍恩對文學引用的軌跡。另一 件作品《 Black Yes 》與其他繽紛色彩的版本形成對比，是藝術家黑色的鑄造玻璃雕塑 系列之一。如同霍恩大部分作品，這些玻璃雕塑透過自然和形式的轉變，探究無盡的身 份變化和轉瞬即逝的經歷。

「我一直覺得雌雄同體是我與自己和作品關係的中心。就特定作 品中的個人經驗而言，我把這個自我認同的議題拋回給觀眾。」

羅尼．霍恩

另一個展出的系列《 White Dickinson 》也同樣反映了霍恩一直以來對文學 的興趣。這些雕塑從正面看時清晰可辨美國詩人艾蜜莉．狄金森的詩集和 公開的信件片段。不同角度之下，字母解構為無象徵意義的元素，這鼓勵人 們反思語言的千變萬化的組成，以及藝術家和詩人之間的關係。《 Untitled, No. 14 》和《 Untitled, No. 16 》是藝術家於 1998 年開始發展的另個更大 的攝影系列，兩件作品以並排的圖像呈現（分別為一隻鳥和一個人的頭部）， 顯現彼此間的異同。《 Untitled (Weather) 》和《 Still Water (The River Thames, for Example) 》則是透過女性表情中的細微差異，和水面難以捉 摸和不斷變化的顏色和紋理，引發觀眾和作品之間的對話。 霍恩的作品曾在眾多機構舉辦，包括貝耶勒基金會、洛杉磯當代美術館、巴 塞爾美術館、迪亞藝術中心、龐畢度藝術中心和芝加哥藝術中心等。近期展 覽包括皮諾收藏美術館《 Félix González-Torres / Roni Horn 》、Pola 美 術館《 Roni Horn : When You See Your Reflection in Water, Do You Recognize the Water in You? 》和哥廷根美術館《 Roni Horn – You are the Weather (Books, Drawings, Photographs) 》。2009 年，由泰特美術

館和惠特尼美術館策劃的《 Roni Horn aka Roni Horn 》為其大型回顧展， 隨後巡迴至亞維儂蘭貝爾美術館。她的作品曾在惠特尼雙年展、卡塞爾文件 展、威尼斯雙年展，以及雪梨雙年展展出。霍恩為 2013 年米羅基金會獎的 得獎者，並曾獲得紐約雕塑中心雕塑獎和美國國家藝術基金會獎。目前工作、 生活於紐約。

‘ Even when slow moving, black water dominates, bewitches, subdues. Black water is alluring because it is disturbing and irreconcilable.’

—

Roni Horn 1

Black Yes

2000

Solid cast glass with as-cast surfaces

40.6 x 73.7 x 121.9 cm

Courtesy the artist and Hauser & Wirth

2000 年創作的《 Black Yes 》，是霍恩最具開創性的玻璃雕塑之一。 作品以一種罕見且迷人的黑色色調呈現，此雕塑是藝術家經過多年 研究和實驗的結果。

如同水一般，雕塑會根據周圍環境而產生變化，陽光和影子的漸變呈 現出雕塑不同面貌。霍恩對禪的理論有長久的興趣 尤其是物體與 周圍環境之間的共鳴，以及隨時間與地點變化的經歷的重要性 引 領她走向對於水的本質與形式的研究。

Roni Horn quoted in ‘Pictures by Women: A History of Modern Photography’, The Museum of Modern Art, https://www.moma.org/audio/playlist/247/3178 (accessed 13 March 2023).

"Black Yes", created in 2000, is one of Horn's seminal glass sculptures. An example of a glass piece rendered in this rare and attractive black hue, the sculpture is the result of years of research and experimentation by the artist.

Like water, the sculpture varies according to its surroundings, with the gradations of sunlight and shadow revealing different aspects of the work. Horn’s enduring interest in the principles of Zen — particularly the resonances between objects and their surroundings and the significance of passing experiences that shift with time and place — brought her to this ongoing examination of the nature and form of water.

Roni Horn, Courtesy the artist and Hauser & Wirth

‘ In the glass pieces, what fascinates me has a lot to do with the essence of something that has one appearance but is really something completely different. For example, glass is a (super-cooled) liquid, not a solid. It’s a pretty amazing thing that a material as ubiquitous as glass can masquerade like that. It’s like having a mask but the mask is identical to the real thing.’

— Roni Horn

Roni Horn, Courtesy the artist and Hauser & Wirth

Untitled

(“At night her head, heavy with unappeased cravings, sat on her shoulders, like a coconut with its mat of monkeylike hair growing freakishly inside the shell...”)

2018 -2020

Solid cast glass with as-cast surfaces with oculus

27.9 x 121.9 cm

Winsing Arts Collection / 文心藝術收藏

霍恩自 1990 年代後期開始創作玻璃雕塑。為了製作這些雕塑，

霍恩將彩色熔融玻璃倒入模具中，經過幾個月的時間逐漸退火 或冷卻。雕塑側面保留了鑄造模具的粗糙感，頂部光滑且有光 澤，如結晶般的水池或北極冰塊，俯視雕塑時，雕塑的內部近似 於水的外觀。

《 Untitled(At night her head ) 》是一種柔和、桃橘色，宛如 安靜日出的色調。霍恩的雕塑反映了她對顏色、重量和亮度，以 及固態和流動性的持續實驗。透過環境的自然天氣條件，使玻 璃雕塑的外觀不斷變化。根據光線或觀者的位置，雕塑變得透 明，或者具有戲劇性的反光效果。作品的材料和外觀處於流動的 狀態，以微妙的方式不斷變化，每一個改變就如同抗拒既定的視 覺身份。

Roni Horn began to create cast-glass sculpture in the mid1990s. To create these sculptures, colored molten glass it is annealed — or cooled — gradually in molds over a period of months. The sides of the sculpture retain the roughness of the containers in which they are cast, while the top is smooth and shiny, like a crystalline pool or Arctic ice. When viewed from above, the interior of the sculpture approximates the appearance of water.

"Untitled (At night her head…)" features a soft, peach-colored tone that resembles a serene sunrise. Horn's sculptures reflect her ongoing experiments with color, weight and luminosity, as well as solidity and fluidity. The appearance of the castglass sculptures is constantly in flux, responding to the natural weather conditions of the environment in which they are displayed. Depending on the light or the position of the viewer, the sculpture may become transparent or dramatically reflective. The materials and appearance of the work are in a constant state of flux, endlessly changing in subtle ways, as if resisting its visual identity at every turn.

Roni Horn, Courtesy the artist and Hauser & Wirth

Roni Horn, Courtesy the artist and Hauser & Wirth

‘ When you see your reflection in water, do you recognize the water in you? ’

— Roni Horn

Still Water

(The River Thames, for Example)

1999

Photographs and text printed on uncoated paper 83.8 x 111.8 x 5.1 cm approx. each, 6 parts Courtesy the artist and Hauser & Wirth

《 Still Water (The River Thames, for Example) 》為一系列大 型攝影平版畫，作品聚焦在泰晤士河水面的一小塊區域。儘管以 地理上來說區域很狹小，水面的顏色和紋理卻有很大的變化： 從黑色到藍色，深綠色到卡其黃，潮汐運動和光的變化增強了水 的波紋，水的質地和深度喚起了不同意義和參考。點綴在水面上 的微小數字代表的是白框下緣的註腳，這些註腳呈現一系列關 於河流意義的引文，及它所喚起的情緒和敘事，也穿插了電影、

歌曲和文學的引用。

‘Still Water (The River Thames, for Example)’ is a series of large photo-lithographs focusing on a small area of the surface of the river Thames in London. Though the geographic area under consideration is narrow, there is a wide variation in the color and texture of the water’s surface: ranging from black to blue, dark green to khaki yellow, with tidal movements and changes in light enhancing the ripples, texture and depth of the water, evoking diverse meanings and references. The tiny numbers dotting the water refer to the footnotes at the bottom edge of the white frame, which include texts written by the artist touching on the significance of the river and evoking emotions and narratives, interspersed with references to films, songs and literature.

Roni Horn, Courtesy the artist and Hauser & Wirth

‘My gaze alights on the water, on this spot on the river, here where the water is turning around, where the currents turn the water in tightening circles. I can't turn away. I want to feel time twist as I watch these spirals forming. I want to feel time twist and myself turning as I watch them disappear. I want to twist with the turning water. I want to watch these spirals turn themselves invisible. I want to watch them turning from the surface, turning down into the depths where I cannot see them. I want to turn invisible with them. I want to turn with them, invisible and keep turning.

Black water is opaque water, toxic or not. Black water is always violent. Even when slow moving, black water dominates, bewitches, subdues. Black water is alluring because it is disturbing and irreconcilable. Black water is violent because it is alluring and because it is water.

Roni Horn, Courtesy the artist and Hauser & Wirth

Water is lubricant to other places. It dilutes gravity when you're in it. It reduces friction when you're around it. Almost any form of water—rivers, lakes, oceans, even sinks—will do. My mind roams freely, breezily near it. My thoughts take me backward and forward. Time has no direction near water. Water is lubricant to other places. It catalyzes memory and aspiration.

This water exists in monolithic, indivisible continuity with all other waters. No water is separate from any other water. In the River Thames, in an arctic iceberg, in your drinking glass, in that drop of rain, on that frosty window pane, in your eyes and in every other microcosmic part of you, and me, all waters converge.’

Roni Horn

MoMA, (n.d.), Roni Horn. Still Water (The River Thames, for Example). 1999. Available at : https://www.moma.org/audio/playlist/247/3178 [Accessed 14 February 2023]

‘

—

I was curious to see if I could elicit a place from her face, almost like a landscape. Not in the literal sense, but how close those identities were.’

Roni Horn

Untitled ( Weather)

2010 -2011

Inkjet/pigment prints on paper, mounted on Sintra

32.4 x 27.3 x 2.5 cm approx. each, 11 parts Courtesy the artist and Hauser & Wirth

對霍恩而言，冰島的極端氣候和景觀長期提供「一個無 限規模和新奇的露天工作室」。此組作品描繪一位女人 出現在冰島各地溫泉和泳池的攝影。如同玻璃作品多樣 的色調，在每張照片裡，這位女人的臉部表情產生微妙 的變化，反映出了她周圍的天氣狀況。

Roni Horn, Courtesy the artist and Hauser & Wirth

For Roni Horn, Iceland's extreme climate and landscape have long offered ‘an open-air studio of unlimited scale and newness.’ This series of photographs features a woman emerging from the water in hot springs and pools across Iceland. As with the diverse palette of the glass works, the woman’s face varies subtly in each photograph, reflecting the weather conditions around her.

Roni Horn, Courtesy the artist and Hauser & Wirth

‘Emily Dickinson is...a writer you could read again as if you had never read her before-somehow the work never becomes familiar. There is no structure that you can latch onto, not that it's amorphous, but it is not something that you can identify or whose identity can be separated from the experience — something that I'm seeking to offer in my work.’

— Roni Horn

White Dickinson

THE MIND IS SUCH A NEW PLACE, LAST NIGHT FEELS OBSOLETE

2006 -2007

Solid aluminum and cast white plastic

273.3 x 5.1 x 5.1 cm

Courtesy the artist and Hauser & Wirth

THE MOST INTANGIBLE THING IS THE MOST ADHESIVE

2006 -2007

Solid aluminum and cast white plastic

229.2 x 5 x 5 cm

Winsing Arts Collection / 文心藝術收藏

Roni Horn, Courtesy the artist and Hauser & Wirth

Roni Horn, Courtesy the artist and Hauser & Wirth

文學長期以來是霍恩作品的核心元素，艾蜜莉．狄金森等人物的 文字成為藝術家的創作素材。White Dickinson 系列為一組長

方形的鋁製雕塑，崁入白色塑料鑄造的文字，這些句子出自艾蜜

莉．狄金森出版的信件。文字只有從正面看時才能清楚閱讀，從 其他角度看時字母被解構為純粹的形式。

Literature has long been a centerpiece of Horn's work, and the work of writers such as Emily Dickinson have become the artist's source material. The “White Dickinson” series is a group of rectangular aluminum sculpture with white plastic inscriptions sourced from Emily Dickinson's published letters. The text can only be read clearly when viewed from the front, while the letters are deconstructed into their pure form when viewed from other angles.

‘You search for the differences, no matter if the pair is identical — and interestingly enough you find them, It’s like standing at the edge of infinity where things begin but have no end.’

— Roni Horn

Untitled, No.14

1998 / 2007

Iris-printed photographs

56 x 56 cm each, 2 units

Courtesy the artist and Hauser & Wirth

1998 至 2008 創作的成對鳥系列，是藝術家長期拍攝冰島禽鳥標本 的巔峰之作。這些鳥在白色背景下近距離拍攝（如同傳統肖像），每 隻鳥的背後都有獨特的樣貌和印記，賦予圖像微妙的形狀和圖案。

攝影中的每一根羽毛，都是對身份差異、偏差和可變性的痕跡。雖然 這對鳥可能看起來很相似，但仔細觀察後，細微的差別就會浮現。

Horn’s suite of paired “bird” photographs, created between 1998 and 2008, marked the culmination of the artist's long career of photographing avian specimens from Iceland. Captured at close range against a white background (like a traditional portrait), these birds each have a distinctive look and mark from behind, giving the image a distinctive yet subtle shape and pattern.

Each feather in the photograph is a trace of the differences, deviations and variability of identity. Although this pair of birds may appear similar, subtle nuances emerge on closer inspection.

Roni Horn, Courtesy the artist and Hauser & Wirth

Roni Horn, Courtesy the artist and Hauser & Wirth

Untitled, No.16

2018

Pigment prints

62.5 x 62.5 x 4.1 cm each, 2 units Courtesy the artist and Hauser & Wirth

霍恩的攝影透過重複和雙重的概念，探索身份和變化的議題。此件 作品的核心是關於相同與差異性的課題，隨著時間推移，穩定的可 能性。羅尼．霍恩兩張背影的照片，有著同樣的灰色短髮，被複製成 明顯相同的圖像。彼此相鄰地觀看，作品邀請觀眾進入作品中，並鼓 勵他們觀察在樣態和外觀上的細微差別。

Roni Horn's photographs address issues of identity and variation through the use of repetition and duality. At the heart of this work lies the topic of sameness and difference, the possibility of stability over time. Two photographs of Horn's back, featuring the artist with the same short gray haircut, have been reproduced as apparently identical images. Viewed next to each other, they invite the viewer into the work, encouraging them to consider slight differences in posture and appearance between the two works.

RONI HORN

Born

1955 in New York, United States

Lives and works in New York, United States

Education

1976 - 1978 MFA in sculpture at the Yale University of New Haven, Connecticut, United States

1972 - 1975 BFA with Honors at the Rhode Island School of Design in Providence Rhode Island, United States

Solo Exhibition ( selection ) 2023

Hauser & Wirth, 'An Elusive Red Figure...', Zurich, Switzerland

Xavier Hufkens, 'Recent Drawings', Brussels, Belgium

Winsing Arts Foundation, 'Roni Horn', Taipei, Taiwan

Centro Botín, 'Roni Horn: Me paraliza la esperanza', Santander, Spain

HE Art Museum, 'Roni Horn: A dream dreamt in a dreaming world is not really a dream, ... but a dream not dreamt is.', Shunde, China

Hauser & Wirth, 'Roni Horn. SWEET IS THE SWAMP WITH ITS SECRETS', Monaco

Taka Ishii Gallery (complex665), 'Roni Horn. Bird', Tokyo, Japan

Bourse de Commerce - Pinault Collection, 'Félix González-Torres / Roni Horn', Paris, France

Pola Museum, 'Roni Horn: When You See Your Reflection in Water, Do You Recognize the Water in You?', Hakone, Japan

'Air Burial', Hakone, Japan (permanent installation)

Peder Lund, 'Wits’ End Mash', Oslo, Norway

Château La Coste, 'A Rat Surrendered Here', Le Puy-Sainte-Réparade, France

Kunsthaus Göttingen, 'Roni Horn – You are the Weather (Books, Drawings, Photographs)', Göttingen, Germany

The Menil Collection, 'Gold Field', Houston TX (installation)

Hauser & Wirth, 'Roni Horn. Recent Works', New York NY

i8 Gallery, 'Roni Horn', Reykjavík, Iceland

Fondation Beyeler, 'Roni Horn. You are the Weather', Riehen, Switzerland

The University Museum of Contemporary Art at UMass Amherst, 'Roni Horn', Amherst MA

Peder Lund, 'Roni Horn', Oslo, Norway

Ekbergparken Park, 'Air Burial', Oslo, Norway (permanent installation)

Menil Collection, 'Roni Horn: When I Breathe, I Draw', Houston TX

Aker Brygge & Oslo Central Station, 'Portrait of an Image', Oslo, Norway (public installation)

Hauser & Wirth Hong Kong, 'Roni Horn', Central, Hong Kong

Menil Collection, 'Wits' End Sampler', Houston, TX

Kurimanzutto, 'Roni Horn', Mexico City, Mexico

Hauser & Wirth Zürich, 'Roni Horn. Wits' End Sampler | Recent Drawings', Zürich, Switzerland

Kukje Gallery, 'Remembered Words', Seoul, South Korea

Pinakothek der Moderne Kunst, 'Roni Horn. PI', Munich, Germany

Rat Hole Gallery, 'Selected Gifts, (1974 – 2015)', Tokyo, Japan

Nasher Sculpture Center, 'Roni Horn', Dallas TX

Hauser & Wirth, 'Roni Horn', New York NY

Glenstone, 'Roni Horn', Potomac MD

Cairngorm National Park in Scotland, 'Air Burial', Cairngorms, Scotland (permanent installation)

Fondation Beyeler, Riehen/Basel, Switzerland

de Pont Museum, Tilburg, Netherlands

Fondation Vincent van Gogh, 'Butterfly to Oblivion', Arles, France

Hauser & Wirth, 'Butterfly Doubt', London, England

Galleria Raffaella Cortese, Milan, Italy

Peder Lund Gallery, 'Water Teller', Oslo, Norway

Vigeland Museum, 'Drawings', Oslo, Norway

Caixa Forum, '”Everything was sleeping as if the universe were a mistake”', Madrid, Spain

Fundació Joan Miró, '”Everything was sleeping as if the universe were a mistake”', Barcelona, Spain (Travelling Exhibition)

Kukje Gallery, Seoul, Korea

Hauser & Wirth, '”Everything was sleeping as if the universe were a mistake”', New York NY

Hauser & Wirth, Zurich, Switzerland

Schirn Kunsthalle, 'Portrait of an Image', Frankfurt am Main, Germany

Galleria Raffaella Cortese, 'Mirosław Bałka e Roni Horn', Milan, Italy

Hauser & Wirth, 'Selected Drawings 1984 - 2012', Zurich, Switzerland (Travelling Exhibition)

Sammlung Goetz, Munich, Germany

Xavier Hufkens, 'Selected Drawings 1984 - 2012', Brussels, Belgium (Travelling Exhibition)

Andrea Rosen Gallery, 'The Wedding (the Walker Evans Polaroid Project) with Roni Horn', New York NY

FLAG Art Foundation, 'Double Mobius', New York NY

Hamburger Kunsthalle, 'Photographien / Photographic Works', Hamburg, Germany

Hauser & Wirth, 'Recent Work', London, England

i8 Gallery, Reykjavik, Iceland

Galerie de l'UQAM Université du Québec à Montréal, 'Some Thames', Montreal, Canada

Centre of Contemporary Art Ujazdowski Castle, Warsaw, Poland

Hauser & Wirth, New York NY

ICA - Institute of Contemporary Art, 'Roni Horn aka Roni Horn', Boston MA (Travelling Exhibition)

Kukje Gallery, Seoul, Korea

Kunsthaus Bregenz, 'Well and Truly', Bregenz, Austria

Rat Hole Gallery, Tokyo, Japan

Collection Lambert, 'Roni Horn aka Roni Horn', Avignon, France (Travelling Exhibition)

The Common Guild, 'The tiniest piece of mirror is always the whole mirror', Glasgow, Scotland

Tate Modern, 'Roni Horn aka Roni Horn', London, England (Travelling Exhibition)

Whitney Museum of American Art, 'Roni Horn aka Roni Horn', New York NY (Travelling Exhibition)

Guggenheim Museum, 'Paired, Gold: Felix Gonzalez-Torres and Roni Horn', New York NY

CAC – Centro de Arte Contemporàneo, Malaga, Spain

Circulo de Bellas Artes (Photo España), Madrid, Spain

Gagosian Gallery, Los Angeles CA

Hauser & Wirth, London, England

Overbeck Gesellschaft, 'Portrait of an Image (with Isabelle Huppert)', Lübeck, Germany

Rathole Gallery, 'This is me, this is you', Tokyo, Japan

Xavier Hufkens, Brussels, Belgium

Australian Centre for Contemporary Art, 'A KIND OF YOU', Melbourne, Australia

Kukje Gallery, Seoul, Korea

Reykjavik Art Museum, 'MY OZ', Reykjavik, Iceland

Stykkisholmur Library, 'Vatnasafn / Library of Water', Stykkishólmur, Iceland (long-term installation)

Xavier Hufkens, Brussels, Belgium

Hauser & Wirth, 'Portrait of an Image / Drawings. Roni Horn, Louise Bourgeois', Zurich, Switzerland

James Kelly Contemporary, 'Sculptures, Drawings and Photographs', Santa Fe NM

Inverleith House, 'Angie and Emily Dickinson', Edinburgh, Scotland

Museion, 'Angie and Emily Dickinson', Bolzano, Italy

Safn, 'Relaxness', Reykjavik, Iceland

Matthew Marks Gallery, 'Portrait of an Image (with Isabelle Huppert)', New York NY

Art Institute of Chicago, 'Some Thames', Chicago IL

Folkwang Museum, 'In der Sammlung', Essen, Germany

Fondazione Bevilacqua La Masa, 'Dessins / Drawings / Disegni', Venice, Italy (Travelling Exhibition)

Hauser & Wirth, 'Rings of Lispector (Agua Viva)', London, England

Reykjavik Art Museum, 'Her, Her, Her and Her', Iceland

Centre Pompidou / Galerie d'Art Graphique, 'Dessins / Drawings / Disegni', Paris, France (Travelling Exhibition)

Fotomuseum Winterthur, 'If on a Winter's Night...Roni Horn...', Winterthur, Switzerland

Galerie Hauser & Wirth Zürich & Presenhuber, Zurich, Switzerland

i8 Galleri, 'This is Me, This is You', Reykjavik, Iceland

Raffaella Cortese, Milan, Italy

University of Akureyri, 'Some Thames', Iceland (Permanent Installation)

Xavier Hufkens, Brussels, Belgium

Dia Center for the Arts, 'Blah, Blah, Blah, part 1', New York NY

Dia Center for the Arts, 'Blah, Blah, Blah, part 2', New York NY

Matthew Marks Gallery, 'Clowndoubt', New York NY

Galerie Hauser & Wirth Zürich & Presenhuber, Zurich, Switzerland

Gallery Yvon Lambert, 'Cabinet Of', Paris, France

Dia Art Foundation, 'Part I and Part II', New York NY

i8 Galleri, Reykjavik, Iceland

Jablonka Galerie, Cologne, Germany

Museo Serralves, 'Some Thames', Porto, Portugal

Xavier Hufkens, Brussels, Belgium

Castello di Rivoli, Turin, Italy

Lannan Foundation and Site Santa Fe, Santa Fe NM

National Gallery of Iceland, Reykjavík, Iceland

Timothy Taylor Gallery, 'Still Water (The River Thames, for Example)', London, England

Whitney Museum of American Art, New York NY

Bayerische Staatsgemäldesammlungen / Staatsgalerie moderner Kunst, 'PI', Munich, Germany

CAPC - Musée d'art contemporain de Bordeaux Entrepôt, Bordeaux, France

Jablonka Galerie, Cologne, Germany

Matthew Marks Gallery, 'Pi', New York NY

Musée d'Art Moderne de la Ville de Paris, Paris, France

Raffaella Cortese, Milan, Italy

Zugspitze, Munich, Germany

De Pont Museum of Contemporary Art, 'You are the Weather', Tilburg, Netherlands (Travelling Exhibition)

Galleri Stefan Andersson AB, Umea, Sweden

Museum für Gegenwartskunst, Basel, Switzerland

Patrick Painter Inc., Los Angeles CA

Xavier Hufkens, Brussels, Belgium

Jablonka Galerie, Cologne, Germany

Bahnhof Ost, 'Yous in You', Basel, Switzerland (Permanent Installation, completed 2000)

Henry Art Gallery, University of Washington, 'Earths Grow Thick: Works after Emily Dickinson', Seattle WA (Travelling Exhibition)

Fotomuseum Winterthur, Winterthur, Switzerland

Ingólfsstræti 8, Reykjavík, Iceland

Institut für Moderne Kunst in der SchmidtBank-Galerie, 'You are the Weather', Nuremberg, Germany (Travelling Exhibition)

Jablonka Galerie, Cologne, Germany

Matthew Marks Gallery, 'Untitled (Flannery) and Pooling You', New York NY

Raffaella Cortese, Milan, Italy

i8 Gallery, Reykjavik, Iceland

Davis Museum and Cultural Center, Wellesley College, 'Earths Grow Thick: Works after Emily Dickinson', Wellesley MA (Travelling Exhibition)

Deutscher Wetterdienst München, 'You are the Weather', Munich, Germany (Permanent Installation at the German Meteorological Service: Helene Weber Allee 21-23)

Galerie Ghislaine Hussenot, Paris, France

Matthew Marks Gallery, 'Five Installations', New York NY

Wexner Center for the Arts, 'Earths Grow Thick: Works after Emily Dickinson', Columbus OH (Travelling Exhibition)

Alfonso Artiaco Gallery, Naples, Italy

Jablonka Galerie, Cologne, Germany

Kestner Gesellschaft, 'Making Being Here Enough. Installations, Drawings', Hanover, Germany (Travelling Exhibition)

Kunsthalle Basel, 'Making Being Here Enough. Installations, Drawings', Basel, Switzerland (Travelling Exhibition)

Matthew Marks Gallery, 'Gurgles, Sucks, Echoes', New York NY Museum für Gegenwartskunst, 'Drawings', Basel, Switzerland

Sammlung Goetz, 'Felix Gonzalez-Torres & Roni Horn', Munich, Germany

St. Louis Museum of Art, 'Currents 61: Roni Horn', St. Louis MO

The Baltimore Museum of Art, 'Inner Geography', Baltimore MD (Travelling Exhibition)

DePont Foundation for Contemporary Art, 'Roni Horn', Tilburg, Netherlands

List Visual Arts Center, MIT, 'Inner Geography', Cambridge MA (Travelling Exhibition)

Matthew Marks Gallery, New York NY

Texas Gallery, Houston TX

Yale University Art Gallery, 'Inner Geography', New Haven CT (Travelling Exhibition)

2nd Floor, Reykjavík, Iceland

Gemeentemuseum, 'Rare Spellings: Selected Drawings 1985-1992', The Hague, Netherlands (Travelling Exhibition)

Jablonka Galerie, Cologne, Germany

Kölnischer Kunstverein, 'Rare Spellings: Selected Drawings 1985-1992', Cologne, Germany (Travelling Exhibition)

Kunstmuseum Winterthur, 'Rare Spellings: Selected Drawings 1985-1992', Winterthur, Switzerland (Travelling Exhibition)

Margo Leavin Gallery, Los Angeles CA

Mary Boone Gallery, New York NY

Matthew Marks Gallery, New York NY

Secession, 'Rare Spellings: Selected Drawings 1985-1992', Vienna, Austria (Travelling Exhibition)

Galerie Annemarie Verna, Zurich, Switzerland

Jablonka Galerie, Cologne, Germany

New Museum for Living Art, Reykjavík, Iceland

Mary Boone Gallery, New York NY

Städtisches Museum Abteiberg, 'For A Here And A There', Mönchengladbach, Germany

Westfälischer Kunstverein, 'Things Which Happen Again', Münster, Germany

Leo Castelli, New York NY

Margo Leavin Gallery, Los Angeles CA

Paula Cooper Gallery, New York NY

Temporary Contemporary of The Museum of Contemporary Art, Los Angeles CA

Galerie Annemarie Verna, Zurich, Switzerland

Jay Gorney Modern Art, New York NY

Paula Cooper Gallery, New York NY

Chinati Foundation, 'Things that Happen Again', Marfa TX (Permanent Installation)

Detroit Institute of Arts, 'Pair Objects I, II, III', Detroit MI (Travelling Exhibition)

Galerie Lelong, 'Pair Objects I, II, III', New York NY (Travelling Exhibition)

Mario Diacono Gallery, Boston MA

Susanne Hilberry, Birmingham MI

Winston Gallery, Washington DC

Galerie Maeght Lelong, New York NY

Galerie Maeght Lelong, Paris, France

Burnett Miller Gallery, Los Angeles CA

Neuberger Museum of Art, Purchase NY

Burnett Miller Gallery, Los Angeles CA

Galerie Maeght Lelong, New York NY

Glyptothek / Kunstforum / Kunstraum, Munich, Germany

Clocktower, Institute for Art and Urban Resources, New York NY

Kunstraum, Munich, Germany

Yale University, New Haven CT

LEAD Award, Lead Academy, Berlin/Deichtorhallen Hamburg, Hamburg, Germany

The Joan Miró Prize, Barcelona, Spain

Aspen Award for Art Artists Space Award, New York NY (Remarks by Douglas Gordon, Rachel Weisz)

Athena Award, Rhode Island School of Design, Providence RI

The Citibank Private Bank Photography Prize (Short-listed)

Alpert Award in the Arts, Los Angeles CA

Sculpture Award, Sculpture Center, New York NY

Engelhard Foundation Artist Residency, Bequia, Iceland

Guggenheim Fellowship, New York NY

NEA Artist's Fellowship, Washington DC

AVA 7, Awards in the Visual Arts, North Carolina NC

NEA Artist's Fellowship, Washington DC

NEA Artist's Fellowship, Washington DC

Humanities Development Grant, Colgate University, Hamilton NY

Alice Kimball Travelling Fellowship, from Yale University, New Haven CT

Ford Foundation Grant, New Haven CT