Published on Tuesday, March 29th, 2011
For the second solo exhibition at 303 Gallery in New York, Danish artist Jeppe Hein (Copenhagen, 1974) makes a spectacular display where pure abstraction and organic vitality, immanence of form and the idea (and temporality) of the experience coexist and contrast with one another in this stylish take on environmental action. Hein has achieved considerable international fame thanks to the development of methodologies for use of arts facilities with humorous and interactive means. His technique can be found at the juncture between architecture and technical innovations, following the tradition of Minimalism and Conceptual Art. The use of interactive displays starts even before crossing the gateway space. In fact, Upside Down is the special lens of a telescope installed in opaque glass material for the occasion, through which the visitor has the opportunity to glimpse a 180 degree panorama of the interior space of the gallery.
When entering the visitor's gaze is attracted by Light Pavilion, a huge chandelier made of wire and light bulbs without a fixed structure. There one is faced with a flexible environment, which is activated through a perverse mechanism of gears. This system is started directly by the visitor pedalling on a bicycle that allows the sculpture to open and close almost like an umbrella. All along the left wall, instead, is 360 ° Photo Gallery Edition, composed of 24 photographs, , documenting the empty space of the gallery and witnessing a space rotation of 360 °. To conclude the exhibition on the adjacent wall lies With Your Own Eyes, a minimal installation to be found on the great wall, consisting of a circular mirror of the diameter of 2 cm reflecting a single eye of the visitor.
The aim of Jeppe Hein, when confronted with the architecture and art places, is to highlight and implement the mode of exploitation of a single place by the visitor, who is called to reflect on his or her own reactions, both physical and psychological. Therefore his works are determined by mathematical rules (such as rhythm, repetition, the refraction of light) and an aesthetic of rigid minimalism, which breaks the unpredictability of using time in relation to the function. The object-sculpture becomes a trigger, a field of action rather than the end of the action itself, it is a fundamental step for the investigation of space. These are well established expedients in his work which are becoming mere poetic elements that are capable of creating new collective experiences.
show visited on March the 2nd, 2011
From January the 28th to April the 5th, 2011
303 Gallery 547 W 21 St. NEW YORK NY 10011
Opening Hours: tuesdays to saturdays 10-18
Info: firstname.lastname@example.org www.303gallery.com