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Visual Art
RONIHORN " lnverleith House. Edinburgh. until Sun 19 Mar 0...
Like Thomson and Thompson, the bungling detectives in Tintin. sometimes things that look the same are actually unrelated. The work in Roni Horn‘s hauntingly beautiful exhibition, located in the bosky surrounds of Edinburgh‘s Royal Botanic Gardens, seems to chime with its setting. not because its subject matter is ostensibly the natural world, but precisely because it is as unnatural as the rhododendrons and grey squirrels outside the windows. First up, there‘s a series of photographs of the water in London‘s River Thames. The watery surfaces range from calmly reflective to a boiling brown broth, and each is accompanied by footnotes from the artists, which add useful, though rather leaden pointers to her concerns. ‘Have you seen this water before?‘ and ‘have you noticed that this water is barely reflecting |ight?' asks Horn, reminding us that this water has been through the average Londoner seven times, and that it is far from ‘natural'.
Moving through the exhibition, the breadth of the artist‘s interests unfolds (though if you've seen exhibitions by Horn before, don't expect any new work here). There are two photographs of owls, apparently identical, but in fact taken seconds apart. There are photographs of icebergs floating serenely in Icelandic waters. There are photographs of one girl, taken over a period of months or years, in a rainbow of different costumes, different moods, different lights. Opposite, an almost identical series contains similar photos, though they're definitely not the same. Then just as you’re getting the hang of Horn's passion for doubling and disguise, you move into another room and find yourself back with another series of watery photos of the Thames. The doubling is redoubled.
If this succinct survey of Horn‘s work feels a little too elegant, a little too well resolved, then that probably reveals more about the artist‘s practice than it does about the approach of the curators. Roni Horn claims that her own name prompted her to begin a lifetime of androgynous, identity- defying artistic research. This exhibition validates that claim, while deftly forcing any kind of emotional response to slide away into the gardens. (Nick Barley)
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x’, THE LIST 91