WITH HORNS (a text originally written for LTTR Magazine) In 1997 I was artist in residence at the Chinati Foundation in Marfa, Texas. A place founded by the minimal artist Donald Judd. In Marfa I developed a body of work dealing with the idea and depiction of heroes and heroic figures in movies and the media, like e.g.Cowboys, sportsmen etc. These pictures became the basis for most of my work in the coming years. But even more this time at Chinati shaped my perception of art in general and the importance of context, place and space . I was impressed that one single artist had realized his idea of an ideal place for art, not only for himself, but through inviting other artists he created an opportunity for a greater vision of art. At that time I didn‘t know how influential for my development and perception of art Marfa would prove to be. After having worked for several years as visual artists, exhibiting internationally in institutions and galleries I more and more felt the need to develop the artistic process beyond my own visual work and to create a field in which new developments in a greater community are possible. The practice of being in the studio alone didn‘t seem sufficient to express the meaning art had in my life. I felt art being much bigger than myself and wanted to do something that included others and was more communicative and generous. It was also important to me to be able to make my own rules about the perception of art and to place the responsibility of the representation of art back into the hand of artists. Van Horn is a small town at the border of Mexico and Texas, near Marfa. The Greyhound Bus, which runs from El Paso to Marfa, stops in Van Horn where you have to show your papers to the border-patrol. In Van Horn you stand literally with one foot in the US and with the other in Mexico. Two very contrary countries with different values and rules, quite symbolic for the width and variety of the people in the world. Because of the meaning of Van Horn as a global metaphor I chose it as name for my new exhibition-space which I founded in Dusseldorf, Germany. The name VAN HORN can be seen as a kind of keyword for the whole enterprise. I started the first year with a very direct naive approach, wanting to show the whole cosmos of art and incorporating artists whose work I loved without caring for name, fame, sex or age. Nevertheless I had a very straight idea of who would make sense in the context of my space. I developed a concept of a lineage of exhibitions. The exhibitions built on each other, different aspects of art communicated with each other and the spectator. The artists I invited immediately understood why I approached them and also felt that they were not replaceable, which I think is one of the unique features of my space. I knew I had to open VAN HORN with my old hero Robert Crumb. At this time he never had had a solo-show in Germany. I think he's one of the greatest living artists and wanted to see his work myself in my space. He does uncompromising, strong work and is fearless with his obsessions. Artistically as well as personally he's absolutely true to himself. The next show was the blackboard-drawings and architectural-modells of Rudolf Steiner, the founder of Anthroposophy, followed by Nicole Eisenman, a younger american artist with a very energetic and unique work . I very much cherish the generousity of these artists to contribute to and collaborate with VAN HORN. I find it important to re-link and mix contemporary art with older or historical positions. In art we have the opportunity for timelessness, there‘s no need to follow a linear timeline and pile contemporary on top of contemporary or chasing for the newest and youngest. We have the opportunity to choose and create a freedom for ourselves. VAN HORN leads to further exploration of the work and the development of new artworks. During the respective shows I regularly invite other artists, writers etc who hold lectures, performances, do video-installations or music-sessions. The approach to the space is a combination of intuitive and well planned decisions. Probably the space is not an artwork in the classical sense, but it develops the same way. There‘s an openness of possibilities and chance and coincidence have their place. The first year of VAN HORN was very visionary and inspirational, things more or less happened and fell into place, almost by themselves. At least that‘s how I felt. In 2005 I moved to a new place with VAN HORN, and the decision to commit myself on a deeper level to the exhibition-programm and to discuss and share very intensively with the invited artists like Peter Ewig and Andrea Bowers is raising a couple of new and unexpected questions. It becomes obvious that creating this space and place for opportunity is, besides my personal ideas, also a political act. Creating one‘s own rules means questioning the structures of power in the corporate-artworld, more so if you‘re a woman. I was amazed to be asked to limit VAN HORN to very strict definitions (artist vs. gallerist / meaning vs. commercial success). This leads for me to the decision to free myself and the space from any preconceived definitions and to create a new context for the way how to work with artists and the public representation of their art. This includes a wide range of fields which have to be explored in an collaborative effort, from the importance of spirituality in art (is there any?) to the need for attention, love and economic security. Also the question of having a voice arises, of responsibility in economics and the meaning of money as motor and tool. As VAN HORN is developing with the participating artists, learning and changing with the exhibitions and projects it‘s a living liquid space. Goals need to be adjusted, forms altered. VAN HORN presents the opportunity for us to take the responsibility into our own hands and to say yes, this is what artists do, they create a field that makes up their artistic being. Daniela Steinfeld 2005 To see more of Daniela Steinfeld contact Sara Meltzer Gallery, New York or go to http://www.danielasteinfeld.net back to about