萨宾·霍尼格（Sabine Hornig，1964 年出生于西德）是一位德国视觉艺术家和摄影师，现居并工作于柏林。她在摄影、雕塑和特定场地装置艺术方面的作品以其对现代主义建筑和当代都市生活的解读而闻名。她的作品曾在世界各地举办过多次个展，包括在瑞士巴塞尔的“无限艺术”（Art Unlimited Basel）举办的“双重透明度”（Double Transparency）展览（2014 年）以及在纽约现代艺术博物馆举办的“项目 78”（Projects 78）展览（2003 年），还曾在洛杉矶的 J.保罗·盖蒂博物馆和伦敦的 ICA 等机构举办的众多群展中展出。[1]

霍尼格的作品被纽约的索尔旺德·R·古根海姆博物馆、巴尔的摩艺术博物馆、纽约现代艺术博物馆（MoMA）、洛杉矶郡艺术博物馆（LACMA）、克利夫兰诊所、华盛顿特区的赫希霍恩博物馆与雕塑花园、慕尼黑现代艺术博物馆以及瑞典的马尔默美术馆收藏。[2]

作品
霍尼格（Hornig）的作品在探索和挑战人类感知周围世界的方式方面颇具创新性，它模糊了尺度与视角的界限。她的许多作品将照片与三维结构相结合，常常营造出一种“透视错觉”效果。[3] 这些作品拓展了通常被视为“摄影”或“雕塑”的范畴，难以轻易归入任何单一的分类。霍尼格的作品常被描述为融合了极简主义的理念，其中常常包含框住荒芜城市景观的窗户或门，以及物体表面反射出的观看者的自身影像。然而，这位艺术家表示，她认为极简主义的描述并非完全准确或恰当。[3]

霍尼格的艺术作品关注建筑环境，并融入诸如门、墙和窗户之类的日常建筑元素，以及诸如混凝土之类的工业材料。这些元素既体现在雕塑作品中，也体现在特定场地的装置作品中。2002 年的一件雕塑作品《阳台》（Balcony）在一间画廊中安装了一个完整的灰泥阳台——包括一块晾干的毛巾——悬于地面之上。在 2005 年的里斯本展览中，霍尼格用报纸和胶水创作了一堵“石头”墙，沿着玻璃画廊的窗户延伸，并在玻璃墙上形成反射效果。[3] 一件重要的特定场地作品是“玻璃幕墙项目”（Das Glasfassaden-Projekt），该项目于 2005 年为慕尼黑森德林区普费弗街 1 号的一所小学建筑提供了大型装置作品。[4] 这个项目的特点是用透明颜色丝网印刷在安全玻璃上。明亮色彩的气球、书架和看似飘动的白色布片出现在这座城市学校的建筑外墙之上。从玻璃幕墙内部和外部都能看到丝网印刷的图像。[3]在某些融入建筑元素的作品中，她会简化并省略诸如门把手之类的细节，并且会调整物件的比例，从而将一个可识别的物体转变为一件雕塑作品。[3]

窗户是霍尼格艺术作品中的另一个常见主题元素，它出现在诸如她在 2003 年于纽约现代艺术博物馆皇后区分馆（MoMA Queens）展出的《项目 78》这样的大型装置作品中，其中经常可以看到嵌入在坚固的窗户或门框内的城市或户外空间的照片。[5] 自 2001 年以来，她创作了一个持续进行的“窗户”系列，利用窗户的照片以及通过窗户观看的画面。在其中一些作品中，空荡荡的窗户以及透过窗户框架看到的空荡荡的店面反映出潜在的变化可能性，并为反思提供了机会。[3]

她在纽约塔尼亚·邦纳卡德画廊（Tanya Bonakdar Gallery）举办的 2013 年个展名为《透明之物》（Transparent Things），其展名取自 1972 年弗拉基米尔·纳博科夫（Vladimir Nabokov）的小说，并探讨了时间性与城市空间的主题。此次展览将雕塑作品与模仿工业城市物件的物件相结合，这些物件由诸如混凝土、聚酯纤维和铝等材料制成，同时还配以描绘现代柏林破败空间的照片。无论是结构还是照片都颠覆了观众对物件及其所处物理空间的视觉理解。几乎所有照片都是通过窗户拍摄的，这种拍摄方式压缩并扭曲了深度感知和空间感，使观众感到晕眩，营造出霍尼格（Hornig）作品特有的空间混乱感。[6][7] 艺术家本人曾表示，她在作品中传达了一种抽象感、“无归属感”和“模糊感”，以鼓励观众进行批判性思考。[3]

由拉瓜迪亚机场委托，霍尼格完成了她迄今为止最大的建筑干预项目——《拉瓜迪亚视野》（2020 年），该项目位于 B 号航站楼通往停车场的通道玻璃幕墙处，长 268 英尺，高 42 英尺。她以从机场俯瞰曼哈顿天际线这一概念出发点为灵感，从航站楼屋顶以及皇后区的滨水区拍摄了超过 1100 张曼哈顿的高分辨率照片。她将这些图像融合成一个堆叠的构图，并在其中穿插了 20 条关于菲奥雷洛·拉瓜迪亚本人及其相关人物的引语。

Sabine Hornig (born 1964， West Germany) is a German visual artist and photographer who lives and works in Berlin. Her work in photography, sculpture, and site-specific installation art is known for her interpretations of modernist architecture and contemporary urban life. Her work has appeared in solo exhibitions throughout the world, including Double Transparency at Art Unlimited Basel in Switzerland (2014) and Projects 78 at the Museum of Modern Art in New York (2003), and in numerous group exhibitions at institutions like the J.Paul Getty Museum in Los Angeles and ICA London.[1]

Hornigs work is included in the collections of the Solomon R. Guggenheim Museum in New York, the Baltimore Museum of Art, the Museum of Modern Art (MoMA) in New York, the Los Angeles County Museum of Art (LACMA), the Cleveland Clinic, Hirshorn Museum and Sculpture Garden in Washington, DC, Pinakothek der Moderne in Munich, and Malmö Konstmuseet in Sweden.[2]

Work
Hornigs work plays with and challenges the way in which human beings perceive the world around them, blurring scale and perspective. Many of her works combine photographs and three-dimensional structures, often creating a tromp l’œil effect.[3] These stretch the boundaries of what would commonly be considered “photography” or “sculpture” and do not fit easily into any single categorization. Hornigs work is frequently described as incorporating a philosophy of Minimalism, frequently incorporating windows or doors that frame barren city landscapes as well as the viewers own image reflected in the objects surface. The artist, however, has stated that she does not find that Minimalist description wholly accurate or appropriate.[3]

Hornigs art considers the built environment and incorporates everyday architectural elements like doors, walls, and windows, as well as industrial materials such as concrete. These appear in both sculpture and site-specific installations. One 2002 sculptural work, Balcony, installed a full stucco balcony – complete with a drying towel – floating above the floor in a gallery. In a 2005 Lisbon exhibition, Hornig created a “stone” wall out of newspaper and glue, extending along and reflecting in a glass gallery wall of windows.[3] One major site-specific work is the Glass Façade Project, or Das Glasfassaden-Projekt, which in 2005 provided a large installation for an elementary school building at Pfeuferstraße 1, in Munichs Sendling district.[4] The project features silkscreen printed with transparent colors on safety glass. Brightly colored balloons, bookshelves, and seemingly billowing white sheets appear on the façade of the urban school. The silkscreened images are visible from inside the glass façade and outside of it.[3] In certain works that incorporate architectural elements, she simplifies and omits details like door handles and adjusts an items scale in order to transform a recognizable object into a sculpture.[3]

Windows are another common motif in Hornigs art, appearing in major installations like her 2003 work at MoMA Queens, Projects 78, with photographs of urban or outdoor spaces frequently appearing embedded within solid window or doorframes.[5] She has created an ongoing Windows series since 2001, utilizing photographs of and through windows. In some of these works the empty windows, and the empty storefronts viewed through the window frame, reflect potential for change and provide an opportunity for reflection.[3]

Her 2013 exhibition at the Tanya Bonakdar Gallery in New York, called Transparent Things, took its title from a 1972 novel by Vladimir Nabokov and explored themes of temporality and urban spaces. The exhibition combined sculptural pieces, mimicking industrial urban objects and made out of materials like concrete, polyester, and aluminum, with photographs depicting run-down spaces in modern Berlin. Both the structures and the photographs subvert viewers’ visual understanding of the objects and the physical space. Nearly all of the photographs are captured through windows, in a manner that compresses and distorts depth perception and sense of place, throwing viewers off-balance and creating spatial confusion that is characteristic of Hornigs work.[6][7] The artist herself has said that she communicates a sense of abstraction, “placelessness,” and “indistictness” in her work, to encourage critical thought in her viewers.[3]

Commissioned by LaGuardia Airport, Hornig realized her largest architectural intervention to date, La Guardia Vistas (2020), running 268 feet long and 42 feet tall on the glass facade of the Terminal B passageway to the parking garage. Taking the view of Manhattan’s skyline from the airport as a conceptual departure point, she shot more than 1,100 high-resolution photographs of Manhattan from its rooftops as well as from the waterfront in Queens. She merged the images into a stacked composition punctuated with 20 quotations by and about Fiorello La Guardia.