Jeppe Hein Appearing Rooms (currently @Southbank Centre, London)
Hamlet and Jeppe Hein are both Danish and they could not be, at first glance, more apart in their approach to the reality that surrounds them. But in a way both indulge in a doubt about existence that makes them closer than it seems. Hamlet’s doubt is too famous to be repeated, but Jeppe’s doubt has not yet reached such notoriety, because maybe not even he knows what it’s about. His doubt is about art itself, how the individual can produce today a work of art that is not simply auto-referential and self-celebrating but addresses the nature of our social texture and blends with the basic flow of human actions. So the question for the young Danish is: “To be, just to be, or to be more, to be better?”
-- Francesco Bonami "Don't look! Move!"
Jeppe Hein's Loop Bench was featured @Art Basel, which ended today (link)
Within the gallery itself the opening scene consists of David Hominal’s corridor-sculpture Through the Window (2009), an assemblage that comprises an armchair, a lighter, a packet of cigarettes and a Polish translation of Andrei Bely’s modernist novel Saint Petersburg (1913, revised 1922). Recounting the story of Russia in 1905, the paperback is one of a pair of literary references made by Hominal. In the large room, Le Troue (2009) comprises the collected works of Victor Hugo, a stake rammed through the middle of their pages. Little squares of paper, scraps displaced by the spike, hang on the wall in three collages. The works recall Marcel Duchamp’s instructions for a window-hung geometry book The Unhappy Readymade (1919). ‘It amused me,’ Duchamp later admitted, ‘to disparage the seriousness of a book full of principles.’ (Daniel Miller, Frieze Magazine (link)