Sabine Hornig

Sabine Hornig
Nationality Germany
Movement Photography

Sabine Hornig (born 1964 in Pforzheim, West Germany) is a German visual artist and photographer who lives and works in Berlin. Her work in photography, sculpture, and site-specific installation art is known for her interpretations of modernist architecture and contemporary urban life. Her work has appeared in solo exhibitions throughout the world, including Double Transparency at Art Unlimited Basel in Switzerland (2014) and Projects 78 at the Museum of Modern Art in New York (2003), and in numerous group exhibitions at institutions like the J.Paul Getty Museum in Los Angeles and ICA London.[1]

Hornig’s work is included in the collections of the Solomon R. Guggenheim Museum in New York, the Baltimore Museum of Art, the Museum of Modern Art (MoMA) in New York, the Los Angeles County Museum of Art (LACMA), the Cleveland Clinic, Hirshorn Museum and Sculpture Garden in Washington, DC, Pinakothek der Moderne in Munich, and Malmö Konstmuseet in Sweden.[2]

Education

Hornig studied sculpture and photography at the Hochschule der Künste (since 2001 the Universität der Künste Berlin, UdK (Berlin University of the Arts)), in Berlin from 1986 to 1992 receiving a BFA and an MFA.

Work

Hornig’s work plays with and challenges the way in which human beings perceive the world around them, blurring scale and perspective. Many of her works combine photographs and three-dimensional structures, often creating a tromp l’œil effect.[3] These stretch the boundaries of what would commonly be considered “photography” or “sculpture” and do not fit easily into any single categorization. Hornig’s work is frequently described as incorporating a philosophy of Minimalism, frequently incorporating windows or doors that frame barren city landscapes as well as the viewer's own image reflected in the object's surface. The artist, however, has stated that she does not find that Minimalist description wholly accurate or appropriate.[3]

Hornig’s art considers the built environment and incorporates everyday architectural elements like doors, walls, and windows, as well as industrial materials such as concrete. These appear in both sculpture and site-specific installations. One 2002 sculptural work, Balcony, installed a full stucco balcony – complete with a drying towel – floating above the floor in a gallery. In a 2005 Lisbon exhibition, Hornig created a “stone” wall out of newspaper and glue, extending along and reflecting in a glass gallery wall of windows.[3] One major site-specific work is the Glass Façade Project, or Das Glasfassaden-Projekt, which in 2005 provided a large installation for an elementary school building at Pfeuferstraße 1, in Munich’s Sendling district.[4] The project features silkscreen printed with transparent colors on safety glass. Brightly colored balloons, bookshelves, and seemingly billowing white sheets appear on the façade of the urban school. The silkscreened images are visible from inside the glass façade and outside of it.[3] In certain works that incorporate architectural elements, she simplifies and omits details like door handles and adjusts an item’s scale in order to transform a recognizable object into a sculpture.[3]

Windows are another common motif in Hornig’s art, appearing in major installations like her 2003 work at MoMA Queens, Projects 78, with photographs of urban or outdoor spaces frequently appearing embedded within solid window or doorframes.[5] She has created an ongoing Windows series since 2001, utilizing photographs of and through windows. In some of these works the empty windows, and the empty storefronts viewed through the window frame, reflect potential for change and provide an opportunity for reflection.[3]

Her 2013 exhibition at the Tanya Bonakdar Gallery in New York, called Transparent Things, took its title from a 1972 novel by Vladimir Nabakov and explored themes of temporality and urban spaces. The exhibition combined sculptural pieces, mimicking industrial urban objects and made out of materials like concrete, polyester, and aluminum, with photographs depicting run-down spaces in modern Berlin. Both the structures and the photographs subvert viewers’ visual understanding of the objects and the physical space. Nearly all of the photographs are captured through windows, in a manner that compresses and distorts depth perception and sense of place, throwing viewers off-balance and creating spatial confusion that is characteristic of Hornig’s work.[6][7] The artist herself has said that she communicates a sense of abstraction, “placelessness,” and “indistictness” in her work, to encourage critical thought in her viewers.[3]

Exhibitions[8]

Solo exhibitions

  • Wiensowski & Harbord, Berlin (1998)

Group exhibitions

  • Berlin-London, ICA London (2001)
  • Art Basel Unlimited (2006)

Recognition

Karl Schmidt-Rottluff Stipendium (1998)

P.S. 1 International Studio Program, New York (1999-2000)

Goethe Institute (2009)

Villa Aurora, Los Angeles (2009)

References

  1. ↑ "Sabine Hornig - Guggenheim Museum.".
  2. ↑ exhibit-e.com. "Sabine Hornig - Artists - Tanya Bonakdar Gallery". www.tanyabonakdargallery.com. Retrieved 2016-08-09.
  3. 1 2 3 4 5 6 7 Hornig, Sabine (2006). Sabine Hornig: Der zweite Raum = the second room. Ostfildern: Hatje Cantz. ISBN 9783775717625.
  4. ↑ Villarreal, Ignacio. "German artist Sabine Hornig's "Through the Window" at Pinakothek der Modern". artdaily.com. Retrieved 2016-08-09.
  5. ↑ "MoMA | Projects". www.moma.org. Retrieved 2016-08-09.
  6. ↑ "Sabine Hornig at Tanya Bonakdar Gallery, by Siona Wilson / Art Review". artreview.com. Retrieved 2016-08-09.
  7. ↑ "Sabine Hornig - Decoding Images - Art in America". www.artinamericamagazine.com. Retrieved 2016-08-09.
  8. ↑ Negro, M. "www.sabine-hornig.de". www.sabine-hornig.de. Retrieved 2016-08-10.
  9. ↑
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