The selection of works exhibited in the spaces of the Villa includes El Calvario, 2003, belonging to the series of the Bodylandscape started in 2003. Large-format drawings that originate from performative processes, they often begin with the definition of an initial energy centre, almost a navel, that reflects the presence of Horn’s body in front of the work she is about to realise. 

Exhibited in the music room of Villa Cerruti, Cello (1), 1999, is a cello that plays itself. It was originally conceived by Rebecca Horn as part of the large-scale project in Weimar Konzert für Buchenwald (Concert for Buchenwald), in memory of the victims of the concentration camps horrors.

A profound knowledge of art history and a wide range of authors, as well as an affinity with surrealist themes, not to mention a passion for Marcel Duchamp, characterise Horn’s background. Developing an original dialogue with Federico Cerruti’s collection of rare books and a passion for literature, Interferences hosts Cesare Pavese, Il mestiere di vivere, Diario 1935–1950 (Cesare Pavese, The Business of Living, Diary 1935–1950), 2015, a kinetic work by Horn that bears a copy of Pavese’s book of the same name, in which the author confesses his most intimate dramas.