Rebbeca Horn is a German installation artist wroking since the 1970’s. She has covered many themes in her work, varying from social issues to do with immigration and refugees as well as work that deals with war atrocities. One element of her work that is a constant is her visual style, the symbolic use of stringed instruments as a reference to humanity and our form, and the dexterity of our creations, however destructive.
In Tower of The Nameless she sets a monument to the refugees from Balkan states in the form of a tower with mechanically playing violins. The hight and motion of the tower representing the huge plight of these refugees, the violins an expression of their bodies.
In her work Concert for Anarchy a grand piano is suspended upside down from the ceiling by heavy wires attached to its legs. It hangs solidly yet precariously in mid-air, out of reach of a performer, high above the gallery floor. A mechanism within the piano is timed to go off every two to three minutes, thrusting the keys out of the keyboard in a cacophonous shudder. The keys, ordinarily the point of tactile contact with the instrument, fan disarmingly out into space. At the same time, the piano’s lid falls open to reveal the instrument’s harp-like interior, the strings reverberating at random. This unexpected, violent act is followed between one and two minutes later by a retraction as the lid closes and the keys slide back into place, tunelessly creaking as they go.