Exhibition view from Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir” at Camera Austria, Graz, photo: Kunstdokumentation.comExhibition view from Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir” at Camera Austria, Graz, photo: Kunstdokumentation.comExhibition view from Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir” at Camera Austria, Graz, photo: Kunstdokumentation.comAnaïs Horn: Portraits of a Paralyzed Hand, 2021. Installation with 5 antique Thonet piano stools, upholstering with photo prints on furniture velours, 3 cushions, photo prints on cotton satin and vintage fabrics, 50 × 50 cm each; childhood portraits, 2 Lamb- da c-prints, 29.7 × 21 cm each; My Right Hand, 2021, plaster cast, ca. 20 × 15 cm.Anaïs Horn: Die Hand voller Stunden, so kamst du zu mir 1–15, 2020. 15 archival inkjet prints on Hahnemühle paper with embossing, 42 × 29.7 cm each. You Would Wear It as Pajamas and Even to Go Out With It Before Breakfast, 2021. Yukata object, several photo prints on crêpe de chine, ca. 170 × 120 cm. Abendzeichnung 1–4, 2020. Wax pastel and pencil on paper in artist’s frame, 42 × 29.7 cm each. Abendzeichnung 5, 2020. Collage, wax pastel, plants and pencil on paper in artist’s frame, 42 × 29.7 cm.Anaïs Horn: Beloved Hands 1–5, 2021. 5 Lambda c-prints, 40 × 30 cm each, in artist’s frame.Anaïs Horn: À Paris, le ciel me semble toujours plus proche (Quarantine Windows), 2021. Archival inkjet prints on Hahnemühle paper, with pencil notes and embossing, 59.4 × 42 cm.Exhibition view from Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir” at Camera Austria, Graz, photo: Kunstdokumentation.comAnaïs Horn: Paravent, from: Beloved Hands, 2021. Screen from walnut wood with 4 framed photo prints on silk satin, 190 × 180 cm (framed photos 75 × 50 cm and 80 × 100 cm).Anaïs Horn: Reines de France et Femmes illustres, 2021, all 2021. 5 Lambda c-prints laminated on alu-dibond and behind acrylic glass, 60 × 40 cm each.Anaïs Horn: Untitled, from: Beloved Hands, 2021. Curtain object, photo print on silk chiffon, 75 × 50 cm.Anaïs Horn: You Would Wear It as Pajamas and Even to Go Out With It Before Breakfast, 2021. Yukata object, several photo prints on crêpe de chine, ca. 170 × 120 cm.Anaïs Horn: As If Time Stood Still under These Blue Skies, 2021. Video (color, sound), 3’. Sound composed and performed by Eilert Asmervik. Installation view taken at Camera Austria, Graz, 2021.Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir”, Edition Camera Austria, 2021. Texts by Attilia Fattori Franchini and Wendy Vogel.Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir”, Edition Camera Austria, 2021. Texts by Attilia Fattori Franchini and Wendy Vogel.Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir”, Edition Camera Austria, 2021. Texts by Attilia Fattori Franchini and Wendy Vogel.Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir”, Edition Camera Austria, 2021. Texts by Attilia Fattori Franchini and Wendy Vogel.Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir”, Edition Camera Austria, 2021. Texts by Attilia Fattori Franchini and Wendy Vogel.Anaïs Horn “Die Hand voller Stunden, so kamst du zu mir”, Edition Camera Austria, 2021. Texts by Attilia Fattori Franchini and Wendy Vogel.
Anaïs Horn's solo show Die Hand voller Stunden, so kamst du zu mir (Your Hand Full of Hours, You Came to Me) at Camera Austria, Graz, is an intimate reflection on the current moment of physical distancing and uncertainty.
On the occasion of the exhibition, an eponymous publication is published in the Edition Camera Austria with texts by Attilia Fattori Franchini and Wendy Vogel. The publication will be out on the 12th of August.
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The exhibition Die Hand voller Stunden, so kamst du zu mir (Your Hand Full of Hours, You Came to Me) at Camera Austria, Graz, is an intimate reflection on the current moment of physical distancing and uncertainty. Taking its title from Paul Celan’s collection of poetry Mohn und Gedächtnis (Poppy and Memory, 1952), the show mixes the visual and the poetic, fragmenting images whilst encompassing different techniques, materials, formats, and registers. Examining the physicality of hands as a symbol of proximity, affection, and care, as well as a nonverbal tool of expression, Horn recounts a personal event as a starting point for a photographic and sculptural dérive, whilst creating a form that is consistently open to the process of becoming.
On occasion of the exhibition an eponymous publication will be published in the Edition Camera Austria with texts by Attilia Fattori Franchini and Wendy Vogel. The publication will be out on the 12th of August.
