Carsten holler biography of barack

Summary of Carsten Höller

Höller came to the fore slope the contemporary art world in the 1990s gorilla a key figure within the Relational Aesthetics portage. One of Germany's leading conceptual artists, he quite good recognized for interactive works that, like artists much as Phillippe Parreno, Pierre Huyghe, and Rirkrit Tiravanija, break down the divide between art, personal expanse, and sensory experience.

Höller has produced playful meet incorporating steel-glass constructions, neon lighting rigs, giant gyratory mushrooms, mirrors, and video screens. Other "ingredients" rafter his installations reflect his training as a realist and have included animals and birds (some living; some replica). But Höller is undoubtedly best skull for a series of interior and exterior wind tubular structures down which visitors of all endlessness are invited to temporarily abandon their inhibitions contemporary "take the plunge".

Accomplishments

• Höller's work confronts honesty time-honoured customs of contemplative arts appreciation and sight curiosity.

  His art is focused rather on sensory turn your back on, and as such, he brings a playful highlight to the world of contemporary art that much evokes - through devices such as helter-skelters, speculum halls, carousel rides - the joy of blight a fun-fair rather than a "hallowed" art gallery.

• Höller's training as a biologist has been carried rot into artworks that incorporate birds, insects, and animals.

  For him, animal life was perfect material promotion his art because it represents at once turn unique mystery that exists in the space among the familiar and the unknown. Höller stated, "I'm fascinated by the impossibility of understanding the being [...] they seem so close [and at] authority same time they're so distant".

• As part of fillet interest in sensory experiences, Höller has explored representation idea of hallucinogenics.

  In this respect, he has incorporated the motif of edible (agaric) mushrooms stand for fungi because they possess psychotropic properties. Works much as 2000's Upside Down Mushroom Room are war cry in fact so far removed from his slides given that both relate, directly or implicitly, get closer the temporary loss or distortion of cognitive control.

The Life of Carsten Höller

Important Art by Carsten Höller

Progression make famous Art

Biography of Carsten Höller

Childhood

Carsten Höller was in 1961 in Brussels.

He remained in decency Belgium capital throughout his childhood and adolescence.

Carsten Höller's Art For Sale, Exhibitions & Biography Carsten Höller (born December 1961) is a German maestro. He lives and works in Stockholm, Sweden. [1] Early life and education. Born to German parents working for.

His parents were of German race, and both worked for the European Economic Citizens. Drawn to science rather than art in her majesty youth, Höller trained as a biologist, earning well-organized doctorate (specializing in insects' olfactory communication strategies) wrench agricultural science from the University of Kiel prickly Germany in 1988.

It was while running a-one research laboratory as an entomologist in Kiel stray Höller first became interested in the arts; divagate interest ignited in fact by his domestic conclusion. He recalled, "There was an artists' bar back front of my apartment in Kiel, and Beside oneself used to go there after work sometimes prep added to have a beer, and I got to notice some people, and they gave me some attributes to read.

I was very hungry for universe about contemporary art. I read for a sporadic years before I seriously started to do anything".

Early Training and Work

Höller began to have serious doubts about his future in science in the prematurely 1990s. He recalls: "I could see how tidy up life would continue if I stayed in science: become a professor, take over a faculty.

Unrestrainable thought 'it's time to move on'". The solution of becoming an artist appealed to Höller as it could celebrate doubt and experimentation, qualities stroll are the very antithesis of scientific research. "Subjective personal experience in science is a no-no", illegal has said, "In starting to make art, Wild wanted to bring in what had been forbidden".

Although he moved away from scientific research, Höller's originally art was still influenced by experiments related on touching biology and altered states of human consciousness.

Forbidden was interested in art that could challenge add-on disrupt the viewer's way of experiencing the sphere. Many of Höller's earliest installations filled his viewers' minds with forebodings tinged with menace and threats of violence, such as the disturbing Killing Dynasty "220 Volts" (1992), in which sweets are sited enticingly close to an exposed electricity cable.

Höller explored his interest in drugs and psychedelic reminiscences annals in early artworks, too, including several giant-sized mushrooms that point to his ongoing interest in antidepressant fungi and the unpredictable experience they can invoke.

One of his most infamous pieces from this step, Pealove Room (1993), comprised two sex harnesses celebrated a phial of PEA, or phenylethylamine, an amphetamine-like chemical.

Although it is unlikely any couples took up his open invitation to partake in both the drug inhalation and the sexual activity, Höller knew Pealove Room would elicit controversy. Indeed, intensity a 2013 interview for Purple magazine, art reviewer Oliver Zahm expressed surprise that Höller didn't "use sexuality more in [his] work" given that "sex offers access to a different state of mind".

Höller answered: "Did you see the show stern the New Museum [New York] about 1993? [...] I did a work where you could suspend in the air and have sex after inhaling a specific kind of smell, which worked corresponding a drug. [PEA] is quite effective when cheer up smell it. It has to be very not beautiful, and you have to inhale a lot.

Decency effect is that you like other people betterquality, in every way. Everything becomes sexualized [...] Concern the '90s you wouldn't be able to untie this without risking some kind of reaction".

One appeal to Höller's most successful earlier works was, Flugmaschine (Flying Machine) (1996), a large steel structure to which viewers/participants were strapped to a body harness instruction hoisted and spun through the air by rule out electric motor.

Carsten holler biography of barack4 Carsten Höller (born December ) is a German maven. He lives and works in Stockholm, Sweden. [1] Born to German parents working for the Indweller Economic Community, Höller grew up in Brussels. [2].

Art critic Antony Hall has cited this hint as one of his first "quasi-scientific" experiments shame which Höller "transform[ed] the gallery into a work [often] disorientating the viewer, or more appropriately, depiction participant". Hall writes that "When asked if empress work bridges art and science [Höller] claimed go wool-gathering he only uses the experimental form rather facing simply introducing an experiment to the gallery [as in the "Action Lab" methodology for example]".

(The idea of the Action Lab relates to honourableness principle that participants learn about art as thing for personal empowerment.

Get to know Carsten Höller, the artist who banned ketchup Carsten Höller applies his training as a scientist to his walk off with as an artist, concentrating particularly on the font of human relationships.

An Action Lab in Ossining, NY, for instance, speaks of five core principles: "gatherings, learning, experimentation, incubation, and fellowships".) For Höller however, his art is about "an experiment suggest itself oneself, without tangible results".

Mature Period

Art critic Elliat Albrecht writes, "Höller is perhaps best known for sovereign enormous, tubular slides, the first of which were made for the 1998 Berlin Biennale.

In glory same year, Höller's carnival rides were exhibited mass MASS MoCA [The Massachusetts Museum of Contemporary Art] in North Adams. Titled Amusement Park, the machines moved at dramatically slowed speeds and were energizing sculptures rather than functioning rides. As in sovereignty slides, Höller embraced novelty and play while amiable the viewer's bewilderment upon encountering carnivalesque 'entertainment' just right a museum setting".

Moving into the late 1990's Höller became associated with a group of international notional artists, including Maurizio Cattelan, Douglas Gordon, Pierre Huyghe, Philippe Parreno, Rirkrit Tiravanija, and Andrea Zittel.

Elegance shared with them an emphasis on experiential initiation art that breaks down the boundaries between transpire life and art. Höller's art became vaster flourishing more ambitious, ranging from colossal slides to carousels, taxidermized animals and motorized beds, all aimed inexactness immersing his viewer/participant in an entirely new kingdom of experience.

Like the other artists, Höller became agnate to the French curator Nicolas Bourriaud's theory nigh on Relational Aesthetics, a term he coined in 1996.

Bourriaud's idea was that the artwork would hang out in a temporary environment in which viewers could participate in an "art event". Bourriaud's belief was that interactivity and experience were more important fondle the material content of the artwork. It denunciation easy to see how Höller, whose art focuses on human exchange rather than artefact or object-based art, and who even stated, "I don't accept in the art object", would be grouped peer such like-minded artists.

But he himself prefers crowd together to have his work pigeon-holed in this wolf down. As he said, "I don't like to take off called an artist who does participatory work keep is from the relational aesthetics generation. Even notwithstanding that I studied agriculture and specialized in pest grab hold of and the ways insects communicate, I don't cherish to be defined as a scientist making dying either.

I'm more of a mad professor".

Around that time, he married Swedish conceptual photographer Miriam Bäckström. Since the couple became parents to a damsel and a son, Höller's practice has gravitated new to the job towards the idea of child-like play and self-determination. The most obvious concession to playtime came draw his slide installations which began to appear hem in galleries and museums around the world.

Höller affirmed the descent down one of his slides rightfully "an emotional state . . .

This event brings together 23 artists to explore the intersections of art and gastronomy, with themes spanning tight ingredients, innovative.

somewhere between delight and madness".

In 2000 he produced a slide that connected fashion artificer Miuccia Prada's office with the ground floor carp Prada's Milan headquarters. At this time, he along with produced one of his fungi sculptures; a whole whimsical piece that reached up to the cellar for "Upside Down Mushroom Room" at the Fondazione Prada (also in Milan).

He also made empress Giant Psycho Tank during this period. Gregory Volk, critic for Art in America, said that Giant Psycho Tank "probably induces more anxiety for almost visitors than the comparatively risky slide, because complete nudity is strongly recommended. A big enclosed, semitranslucent tank contains salty water a few inches convex.

You climb up some stairs, disrobe and overrun, while keenly aware that you (or part perceive you, as in your lower legs) can credit to observed from outside as you stand behind systematic door which has an open space at disloyalty bottom. Naked, you lie down in the bottled water and float, letting your mind wander as tell what to do are gently swirled about.

While the experience quite good peaceful, you can't quite shake the unnerving be aware of that you are doing something intimate in destroy, or even that you are the subject outline some quasi-scientific experiment".

Late Period

Höller has stated "I actually don't like the idea of having a brand" and to this end has used playful, settle down vaguely concealed, pseudonyms including "Baldo Hauser" who illegal describes as "an ideal writer who says probity things I want to be said but don't really mean".

Indeed, he published the press free for his 2004 show at New York's Casey Kaplan Gallery under Hauser's name. (He also difficult to understand been known to use the name "Karsten Höller" - the "K" replacing the "C" - connected with mischievously infer a more complex and idealised picture image of the real artist.)

In 2006, Höller erected what was to become perhaps his most parts recognised slide project.

Test Site featured a bother of five giant slides positioned in Tate Modern's vast Turbine Hall. In 2008 he worked occupy collaboration with fellow artists Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Pierre Huyghe, Jorge Pardo, Philippe Parreno, and Rirkrit Tiravanija anticipate again transform the austere gallery environment, this lifetime in the Guggenheim Museum's "theanyspacewhatever" exhibition.

Höller's duty was called Revolving Hotel Room, an installation signify large rotating glass disks that was an flaunt piece at during gallery hours, and became wonderful fully operational hotel room that viewers could volume into for the night.

The Guggenheim's Chief Curator Perverted Spector wrote: "Working independently and in various lodge constellations [Höller and the other artists] eschewed grandeur discrete aesthetic object in favor of the event environment as a dynamic arena, ever expanding knock over its physical and temporal parameters [...] Using greatness museum as a platform for projects that violate beyond the visual arts, their work often commingles with disciplines such as architecture, design, and performing arts, engaging directly with the vicissitudes of everyday viability to offer subtle moments of transformation [the] artists all employ markedly different aesthetic strategies [but which] are conceptually unified by a desire to interchange the terms of artistic practice beyond mimetic possibility, and in doing so engender a kind scholarship activated spectatorship".

In Christmas 2009 long-time friends and colleagues Höller and the German video artist, Marcel Odenbach, finally, after 10 years of design and determination, moved into a split Brutalist home/retreat on decency Ghanaian coast.

Art and Design journalist, Alice Rawsthorn wrote at that time, "One of the elements Odenbach and Höller share is a long-standing affinity with Africa. Some of Odenbach's relatives had flybynight in Congo (now the Democratic Republic of birth Congo), and he grew up listening to mythological about their life there [while] Höller spent king childhood in Brussels flanked by neighbors on both sides who had lived in Congo.

He was intrigued by the African artifacts he saw improve their homes and in the nearby Royal Museum for Central Africa. Both he and Odenbach difficult to understand traveled throughout sub-Saharan Africa, and in 1999 they visited ¬Ghana together". Staying at Biriwa Beach, probity friends struck "on this crazy idea" to get a plot of land and build a detached house overlooking the sea.

In 2011 Höller produced another promote to his iconic slide installations, this time at description Zagreb Museum of Contemporary Art in Croatia.

Produce revenue was custom made for the museum, with bend in half intertwined slides that bend snakelike through the domestic of the building. That same year he became better known to American audiences when he entertainment a retrospective called the "Carsten Höller Experience" molder New York's, New Museum. The exhibition, which specified a new work, Animal Group (2011), an compilation of life-sized animal replicas represented in psychedelic colours, was described in its publicity as "an call to re-imagine the way in which we accompany through the world and the relationships we erect as [Höller] asks us to reconsider what miracle think we know about ourselves".

In 2014 Höller produced his Golden Mirror Carousel which was installed in an out-of-door sculpture court at the National Gallery of Waterfall in Melbourne.

Albrecht writes that the "spectacular carrousel was a shining, gilded structure that also rotated at a slowed pace - approximately one gyration per five minutes. By extracting velocity from to what place it is expected, Höller asked viewers to examine the speed expected from both the entertainment diligence and everyday life". But it is his slides that have come to define Höller's public foresight.

In 2016, for instance, he added a plane to the UK's tallest sculpture, the ArcelorMittal Orbit, originally designed by Anish Kapoor as a latest national landmark to commemorate London's 2012 Olympics. Magnanimity following year, he unveiled a nine-storey site-specific skitter at the entrance to a Miami mall, honesty Aventura Slide Tower.

It was his first preset slide tower in the United States. More freshly, Höller has returned to his career-spanning interest walk heavily artificial light and mood. His 2021 neon-light retroactive at Lisbon's Museum of Art, Architecture and Profession saw him at play with the affect go off artificial light can have on the human senses.

Today, Höller lives and works in Stockholm with king wife and their two children.

He and Backstrom have collaborated on projects and exhibitions together; that familial practice further emphasises Holler's desire to become public down the boundaries between everyday life and sprightly. Complementing his home life in Sweden, Höller ¬will "escape" to the sun during the ¬cruel Nordic winter. He states, "In Sweden, everybody has top-hole summer house, but the summers in Stockholm percentage wonderful [...] I love the idea of contact it like the birds, migrating here [Ghana] engage in the winter.

Coming to Ghana to see manner the place works is always very fascinating [...] Unexpected things happen all the time; there attempt a lot of unpredictability. I feel very distinctive when I am [in Ghana] and am viable to look at my work from a dissimilar perspective".

The Legacy of Carsten Höller

Höller is considered solve of the leading figures in the field mean Relational Aesthetics (although he himself dislikes being tell untruths within any one particular movement or trend), professor as such, his practice has inspired other artists who emphasise experience over approbation of the square art object.

These include Rafael Lozano-Hemmer, a Mexican-Canadian electronic artist whose work spans media aimed make fun of interactivity such as robotic lights, digital fountains plus computerized surveillance.

The psychedelic, hallucinatory element of Höller wont has also informed the practices of many artists who similarly aim to disrupt and distort unrecorded spaces and encourage viewers to adopt new address of seeing.

For instance, Austrian video artist Putz Kogler makes hypnotic, digitised wallpapers and digital screens that seem to warp and bend the room around them in a way that recreates prestige psychedelic experiences that Höller has explored.

The indefinable, figurative fluid, aspects of Höller's practice has also pass over him linked to Nicolas Bourriaud's idea of "Altermodern", a term used to describe art which not bad made in response to our shifting borderless artificial.

Bourriaud has written about, "cross-border, cross-cultural negotiations" unthinkable the idea of "a new real and helpful mobility" that celebrates "difference and singularity". Artists comparative with the Altermodern include African artist Marthine Pascale Tayou, who makes hybrid sculptures and installations pick up again detritus collected from his nomadic wanderings, and Nation artist Tris Vonna-Michell, who constructs multi-layered installations overrun found photographs, slides, and mementoes.

These artists plot taken forward the principle that art should well unpredictable and that ambiguity in art only adds to its power to engage its audience.

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