In Scratching Both Walls at Once (part of Berlin Exercises in Nine Pieces: Exercise 1), Rebecca Horn extends her “Finger Gloves” from earlier performances, creating even longer versions. The artist performs and films the action, slowly scratching the tips of these extended gloves along the walls of her studio in Berlin, while walking. In this process, Horn engages with the physical space and explores the relationship between body and environment, continuing her exploration of body extensions and sensory experiences that began with her “Personal Art” series.

Between 1968 and 1972, German artist Rebecca Horn created a series of performances titled “Personal Art.” Not unlike Joseph Beuys, an artist with whom she readily claims affinity, Horn ascribes the genesis of this work to a single near-death experience. As a young sculptor in the 1960s, Horn, like many artists of her generation, worked with fiberglass and polyester. Unaware of the toxicity of these materials, the artist suffered severe lung damage followed by a long period of convalescence. Limited to drawing in her hospital bed, Horn sketched images of the human body and designs for wearable sculptures, or “body extensions.” She then sewed and constructed these, tailoring them to exactly fit her measurements and those of her friends and collaborators. Made of cloth, wood, bandages, belts, feathers, and found objects, Horn’s masks and extensions contain, constrain, and/or elongate the bodies of their wearers. To this day, Horn can be said to continually build upon this oeuvre. She is known to return to earlier objects and performances by citing or even reworking them. “My works are stations in a transformative process,” she has said. A “development that is never really finished.

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As found on Flash Art’s website.