You are cordially invited to join PARIS PHOTO 2022 with a solo presentation of my work
in the Curiosa section, curated by Holly Roussel: PARIS PHOTO – CURIOSA MLZ ART DEP, Booth Nr. SC14 10–13 NOV Opening 9 NOV, 14.00–21.00 https://www.parisphoto.com/fr-fr/foire/actu/curiosa-2022.html Grand Palais Ephémère Place Joffre, 75007 Paris My work was as well selected by curator Federica Chiochetti for the ELLES x PARIS PHOTO parcours, https://www.parisphoto.com/fr-fr/elles/parcours2022.html and by Thomas Girst for the 12 BMW favorites: https://www.parisphoto.com/fr-fr/programme/2022/bmw.html#coeur
Anaïs Horn’s work intertwines text, photography, video, drawing and installation to explore intimate moments. With a focus on longing, liminality and coming-of-age, her images take shape by exploring surfaces and objects, often unfolding into spatial installations. For Curiosa, Horn presents two series in dialogue. Longing Ghosts in Deep Blue Paranoia (2022), is dedicated to Charlotte of Belgium and Mexico who faced an absurd political scenario and the execution of her husband Maximilian of Habsburg, when they were sent to Mexico to rule at the behest of Napoleon III. In her marriage, she endured a lack of love, and was diagnosed mentally ill at the age of 26. The photographs capture uncanny presences in and secret “memories” of their Italian home, Miramare Castle, printed on mirrors and set in antique Triestine frames, accompanied by a scent created by Pauline Rochas. The video work – floating, ghost-like objects in the Castle’s Park – features a soundscape by Eilert Asmervik and a text by Estelle Hoy. The second series, Die Hand voller Stunden, so kamst du zu mir (Your Hand Full of Hours, You Came to Me), 2021, examines the physicality of hands as a symbol of proximity, affection, and care. The work reflects on the recent experience of physical distancing and uncertainty in relation to touch.
