An evocative chronicle of the power of solitude in the natural world I'm often asked, but have no idea why I chose Iceland, why I first started going, why I still go. In truth I believe Iceland chose me.-from the introduction Contemporary artist Roni Horn first visited Iceland in 1975 at the age of nineteen, and since then, the island's treeless expanse has had an enduring hold on Horn's creative work. Through a series of remarkable and poetic reflections, vignettes, episodes, and illustrated essays, Island Zombie distills the artist's lifelong experience of Iceland's natural environment. Together, these pieces offer an unforgettable exploration of the indefinable and inescapable force of remote, elemental places, and provide a sustained look at how an island and its atmosphere can take possession of the innermost self. Island Zombie is a meditation on being present. It vividly conveys Horn's experiences, from the deeply profound to the joyful and absurd. Through powerful evocations of the changing weather and other natural phenomena-the violence of the wind, the often aggressive birds, the imposing influence of glaciers, and the ubiquitous presence of water in all its variety-we come to understand the author's abiding need for Iceland, a place uniquely essential to Horn's creative and spiritual life. The dramatic surroundings provoke examinations of self-sufficiency and isolation, and these ruminations summon a range of cultural companions, including El Greco, Emily Dickinson, Judy Garland, Wallace Stevens, Edgar Allan Poe, William Morris, and Rachel Carson. While brilliantly portraying nature's sublime energy, Horn also confronts issues of consumption, destruction, and loss, as the industrial and man-made encroach on Icelandic wilderness. Filled with musings on a secluded region that perpetually encourages a sense of discovery, Island Zombie illuminates a wild and beautiful Iceland that remains essential and new.

An evocative chronicle of the power of solitude in the natural world I’m often asked, but have no idea why I chose Iceland, why I first started going, why I still go. In truth I believe Iceland chose me.—from the introduction Contemporary artist Roni Horn first visited Iceland in 1975 at the age of nineteen, and since then, the island’s treeless expanse has had an enduring hold on Horn’s creative work. Through a series of remarkable and poetic reflections, vignettes, episodes, and illustrated essays, Island Zombie distills the artist’s lifelong experience of Iceland’s natural environment. Together, these pieces offer an unforgettable exploration of the indefinable and inescapable force of remote, elemental places, and provide a sustained look at how an island and its atmosphere can take possession of the innermost self. Island Zombie is a meditation on being present. It vividly conveys Horn’s experiences, from the deeply profound to the joyful and absurd. Through powerful evocations of the changing weather and other natural phenomena—the violence of the wind, the often aggressive birds, the imposing influence of glaciers, and the ubiquitous presence of water in all its variety—we come to understand the author’s abiding need for Iceland, a place uniquely essential to Horn’s creative and spiritual life. The dramatic surroundings provoke examinations of self-sufficiency and isolation, and these ruminations summon a range of cultural companions, including El Greco, Emily Dickinson, Judy Garland, Wallace Stevens, Edgar Allan Poe, William Morris, and Rachel Carson. While brilliantly portraying nature’s sublime energy, Horn also confronts issues of consumption, destruction, and loss, as the industrial and man-made encroach on Icelandic wilderness. Filled with musings on a secluded region that perpetually encourages a sense of discovery, Island Zombie illuminates a wild and beautiful Iceland that remains essential and new.

Hack Wit is a playful and complex body of work developed between 2013 and 2015, using cliches or proverbs and watercolor. For each work, the artist made two watercolors of a different proverb, cut them apart and then combined them into one. The Canadian poet Anne Carson wrote the text Hack Gloss in response to the "Hack Wit" drawings.

A new book by Roni Horn, Her ubrei at Home is a collection of photographs of the landscape of home in Iceland. Her ubrei , Iceland's much-loved mountain, and Stefan V. Jonsson, who painted the mountain throughout his life, are at the center of this work. His paintings of Her ubrei have found their way into the homes of Icelanders around the country making it the cultural and geologic leitmotiv and mascot of the island. Roni Horn was born in New York where she continues to live and work. Recent solo exhibitions of her work include the Whitney Museum of American Art, New York; Musee d'Art Moderne de la Ville de Paris; Fundacao Serralves, Porto; Fotomuseum Winterthur and Centre Pompidou, Paris. Her recent publications, Dictionary of Water, This is Me, This is You, Cabinet of, If on a Winter's Night..., Her, Her, Her, & Her, Wonderwater (Alice Offshore), Index Cixous (Cix Pax), Doubt Box (Book IX of To Place) have all been published by Steidl.

Inspired by the philosopher and writer Helene Cixous, which whom the photographer and artist Roni Horn has collaborated before, Index Cixous questions the nature of language in its most fundamental sense and proposes a version--one without words, but which can be read as any other. Both Horn and Cixous are concerned with communication wrought out of material space. Cixous writes about women's language arising from the female body, and she argues for a new language, one not in thrall to patriarchy but that acknowledges the life-giving force and history of the feminine.

This is a special edition of 100 books of the tenth volume of Roni Horn's "To Place" series. Each book is presented in a blue clothbound embossed slipcase and comes with a signed and numbered original colour c-print. Roni Horn's series is about the connections between identity and location. This volume is related to Haraldsdottir, which was published in 1996. Using water as a context, the photographs of a woman create an intimate but ambiguous portrait where the face becomes the place. Haraldsdottir, Part Two contains one hundred photographs of the same subject taken fifteen years after the publication of Haraldsdottir."