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Anton Lapov
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Yngve Holen
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Stefan Brüggemann
Emile Hyperion Dubuisson

Yngve Holen, Hater Headlight, 2016. Photo: Philipp Hänger

Yngve Holen, Installation view VERTICALSEAT, view on CAKE, 2016 and Window seat 10–21 A, 2016, Kunsthalle Basel, 2016. Photo: Philipp Hänger

Yngve Holen, Installation view VERTICALSEAT, Kunsthalle Basel, 2016. Photo: Philipp Hänger

Yngve Holen and Aedrhlsomrs Othryutupt Lauecehrofn, Installation view VERTICALSEAT, view on 13 7E 2C 35 D7 16 32 9A FB 07 27 12 E1 B5 2D 16 7F 19 8D 69 D8 E8 8A 18 A3 97 7A 57 7B 14 4C 8D 0E FE 39 92 1E E1 3A 66 8A E1 1E D4 5E 2A 35 13 21 5F 20 BE 2A BD A

Yngve Holen, Window seat 1–2 A, 2016. Photo: Philipp Hänger

Yngve Holen, Hater Headlight, 2016. Photo: Philipp Hänger

Yngve Holen

VERTICALSEAT, Kunsthalle Basel, 2016

 

The human body, it is often said, is conspicuously absent in the work of the Norwegian German artist Yngve Holen (b. 1982). Yet everywhere in his oeuvre, the implications of the body—its subjectivity, messy corporeality, and im- brications in a culture of consumption—are evoked. Disemboweled washing machines, bisected water coolers, MRI-scanned and 3D-printed smashed cell phones: Holen has used them all in previous works. His pre- dilection for things that are at one remove from the humans who make, buy, or use them is shaped by an interest in the technol- ogies that define our everyday surroundings, from transportation and plastic surgery to industrial food production and security systems. In VERTICALSEAT, his largest institutional show to date, Holen presents an array of new objects that magnify the corpo- real questioning that sits at the heart of his practice.

www.kunsthallebasel.ch/exhibition/verticalseat/


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