Orlando 1988

Curator: Rebecca Horn's "Orlando" presents a spatially complex environment, employing a starkly pale room with mechanical elements. Editor: It feels like a stage set for a play about isolation... almost unsettlingly quiet. Curator: Horn's work often engages with feminist themes, using the body and technology to explore control and vulnerability. Considering Virginia Woolf's novel Orlando, we might read the sculpture as disrupting fixed notions of identity and historical narrative. Editor: I love that. The wires look like tendrils reaching, groping, maybe even trying to connect these disparate elements. The charred objects on the floor contrast with the clean, clinical feel of everything else. Curator: Indeed, the burnt materials could represent the destructive forces that shape identity, or perhaps a shedding of old selves. Editor: Hmmm... so, are we stuck in the past, trying to find a voice to be heard? Curator: Perhaps this silence invites us to consider the unspoken histories within this space. Editor: It's a strange harmony between the technological and the primal. It’s beautiful and haunted. Curator: Precisely. The piece asks us to reflect on how we inhabit and are inhabited by these dualities. Editor: I'll be thinking about the burnt objects for days.