VERTICALSEAT. YNGVE HOLEN AT KUNSTHALLE BASEL
The human body is conspicuously absent in the work of German artist Yngve Holen. Yet everywhere in his oeuvre, the implications of the body – its subjectivity, messy corporeality and implications 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 predilection for things that are at one remove from the humans who make, buy or use them is shaped by an interest in the technologies that define our everyday surroundings, from transportation and plastic surgery to industrial food production and security systems. In VERTICALSEAT, his solo show at Kunsthalle Basel, Holen presents an array of new objects that magnify the corporeal questioning that sits at the heart of his practice. VERTICALSEAT refers to the eponymous standing chair that budget airlines are lobbying to introduce in order to transport more people in a reduced amount of space. The scheme speaks to one of the many ways society’s stratification of wealth and power continues to have concrete implications for the body. Holen’s work points to the connections between the proliferation of new technologies and our ever more ironclad cultures of control. The works on show include VERTICALSEAT, Hater Headlight, Window seat and CAKE, all from 2016.
VERTICALSEAT by Yngve Holen
Through August 14