Carsten Höller. “Divisions, Doubles and Other Uncertainties,”

Stefanie Hessler Carsten Höller. Divisions, Doubles and Other Uncertainties

Divisions

It is completely dark around you. You It is completely dark around you. You take one step forward with your take one step forward with your left right foot. When the leather sole of foot. When the rubber sole of your your shoe meets the foor, a brazen shoe meets the foor, a metal hollow clanging sound reverberates around sound echoes around you. You blink you. You blink with your eyes, trying with your eyes, which still haven’t to adjust to the darkness. You reach adjusted to the darkness. You stretch out with your left hand, fnding your out your left arm and touch the wall, way forward along the wall. Your feeling your way along the cold metal fngertips feel the cold metal glid- surface of the tunnel surrounding ing past under them as you move you. Under you, you discern the muf- through the corridor. Over you, you fed noise of footsteps, as if someone hear a muffed sound, as if someone were walking below you. were walking above your head.

As you exit the corridor, you enter an exhibition space. At that same moment, the steps nearby fade as well.

Carsten Höller’s Decision Corridors (2015) [p. 111] constitute the entrance to the exhibition “Doubt” (2016) at Pirelli HangarBicocca in Milan, and did so earlier for “Decision” (2015) at the Hayward Gallery – Southbank

25 Centre in London. Upon entering the gallery, visitors are presented with a choice between two murky rectangular passageways gaping open as if waiting to swallow them. Each of them leads into a ca. 70-meter-long 1 The corridors in Milan dark tunnel1 constructed from galvanised steel modules similar to those measured about 67 metres in used for ventilation systems, forming a sluiceway into the exhibition. total each, those in London measured 75 metres. At Pirelli HangarBicocca, the corridors are preceded by a walkable installation Y (2003) [p. 108] in the shape of the eponymous letter. Each of its three axes is surrounded by a succession of circular alumin- ium structures with light bulbs installed along the inner circumference. At the end of the frst longer conduit, a forked path requires a decision as to which direction to take. Swayed by the sensation of rotating movement induced by light bulbs that are alternately turned on and off, visitors tend to gravitate towards the right.

The large-scale mural installation Division Walls (2016) [p. 109] frames the corridors in Milan. It is divided into a left and a right side, the for- mer of which is held in green and the latter in yellow neon tubes. Each of the two parts of the wall is divided into two further halves, of which the lower section is bisected again, the subsequent one again, and the following one again. The last rectangle of each side is left open and constitutes the entrance to one of the two corridors. The density of the neon tubes is highest at the top largest area of each wall, and decreases by halves as the bisected surfaces diminish in size.

Divisions are a recurring theme in Höller’s art. While Division Walls carries the bisecting principle in itself, the two corridors divide the fow of visitors entering the exhibition. At the Hayward Gallery, moments of doubt as to which decision to take were repeated throughout the show, and applied to the artworks. Among them were the two Isomeric Slides (2015) that departed from outside the rooftop of the gallery. By induc- ing moments of doubt through choice, Höller does not aim to resolve, but suspends uncertainty: «It was during the second half of the nineties that I began to be interested in unclear, undecided states of mind, pre- sumably in order to escape the discomforts that resulted from my com- pulsive-repetitive behaviors. I wanted to reduce the degrees to which 2 Carsten Höller, “Smoke/ 2 New Behaviors”, in Gary all things are defned, in order to let in the unexpected. I was bored.» Carrion-Murayari (ed.), Experience (New York: Skira Rizzoli Publications, Doubt produced by undecided states is a modus that has traversed 2002–2011), p. 215. Höller’s work since then. It assaults our intolerance of uncertainty,

26 “such intolerance”, as philosopher Clément Rosset points out, «that it leads many men to suffer the worst and most real evils in exchange for hope, however vague it may be, of a trace of certainty.»3 The divi- 3 Original French text: sion principle, thus, is one of numerous means through which Höller «On touche ici à un point assez mystérieux et en tout endorses rather than resolves doubt in his art. cas non encore élucidé de la nature humaine: l’intolérance à l’incertitude, intolérance At Pirelli HangarBicocca, the dividing concept is not only applied to the telle qu’elle entraîne beau- works, but to the entire exhibition. Visitors only ever see one half of the coup d’hommes à souffrir show at a given point, since, after choosing one of the two corridors, les pires et les plus réels des maux en échange de l’espoir, they fnd themselves on either the left or the right side of the large si vague soit-il, d’un rien Navate space, but with few options to pass between the two. de certitude», in Clément Rosset, L’école du réel (Paris: Les Editions de Minuit, 2008), The central axis of the space is materialised with the 3-meter-high wall p. 229 (translation by the covered by Zöllner Stripes (2001–ongoing) [p. 113], obstructing passage author). between left and right side, and constituting an artwork in itself. The mural carries a painted pattern based on a classical optical illusion named after its discoverer, the astrophysicist Johann Karl Friedrich Zöllner (whose surname also translates to “tax collector” in German). The pattern intersects parallel longer lines with shorter stripes. For unknown reasons, the parallel lines appear to diverge or converge despite their regularity. Several artworks are integrated within the Zöllner Stripes, such as Aquarium (1996) [p. 116], a round water basin housing a school of Balantiocheilos melanopterus fsh. Three benches enable visitors to lie down and immerse their heads under the acrylic fsh container to observe its inhabitants. Similarly integrated into the wall is Memory Machine (2012) [p. 115], a rod propelled by a motor rotating and visually superimposing two photographs, one showing two female, and the other two male monozygotic twins standing before a wall with Zöllner Stripes. This principle of integrating other works into the Zöllner Stripes wall is maintained throughout the entire length of the large Navate exhibition space.

Duplications

While some works are shared between the left and right side of the divided space at Pirelli HangarBicocca, others are literally duplicated. Among them are Two Flying Machines (2015) [p. 128], two mirrored apparatuses enabling visitors to fy in circles above the show, actuated by a motor whose rotating speed can be adjusted with a hand-held throttle. Other works, in turn, are split between the two sections, for

27 instance the video works Twins (2005-ongoing) [p. 135]. The titles of the eight two-channel videos point to their origins in different cities. Each time the work is shown, a version is added, and the sites of prov- enance include, among others, Tokyo, Santiago de Chile, London, and Milan. In each version, two monozygotic twins converse in the local language. In the Belgian Twins, the culturally and linguistically divided country where Höller grew up, they speak French and Flemish.

Chaque version de l’œuvre se Elke versie van het werk bestaat uit compose de deux moniteurs, twee monitors, elk een van twee représentant chacun un de deux identieke tweelingen afbeeldend in jumeaux identiques en noir et zwart-wit. De tweeling is in gesprek blanc. Les jumeaux sont engagés (in het Vlaams en het Frans): dans une conversation (parlant français et famand): Tweeling A: “Ik zeg altijd hetzelfde als wat jij zegt.” Jumeau A: “Je dis toujours la meme Tweeling B: “Ik zeg altijd het tegeno- chose que ce que tu dis.” vergestelde van wat jij zegt.” Jumeau B: “Je dis toujours le con- Tweeling A: “Ik zeg altijd het tegeno- traire de ce que tu dis.” vergestelde van wat jij zegt.” 4 Excerpt from Carsten Jumeau A: “Je dis toujours le con- Tweeling B: “Ik zeg altijd hetzelfde Höller, Belgian Twins, 2014, traire de ce que tu dis.” als wat jij zegt.” two digital video fles, b&w, Jumeau B: “Je dis toujours la meme Enz.5 sound, 8’2’’ (looped). chose que ce que tu dis.” 5 Ibidem. Etc.4

At Pirelli HangarBicocca, visitors have to memorise the frst half of each spatially divided conversation to then unite it with the second half when reverting through the show in opposite order on the other side of the Navate space. At the Hayward Gallery, respectively, the Twins formed a binaural cacophonic corridor. While the conversation is highly logical, it is nevertheless – perhaps precisely because of its rigid logic – also utterly confusing. The sense produced depends on the point at which you step into the work and whether you start listening to twin A or twin B; since if you hear B frst, then A merely seems to repeat what B says.

The confation of logical and less explicable aspects in Höller’s works reverberates in a quote by the artist with reference to the artist Marcel Duchamp: «I fnd it interesting that, on the one hand, it is a matter of calculating something in geometrical and mathematical terms, and on the other, it’s a matter concerning something completely unexplainable

28 and therefore fascinating. It almost seems as though Duchamp uses the geometrical, mathematical method as far as he can on one path, and then there is this other path, a path that is very diffcult to speak about, and which really constitutes the path of art. And in the end, the two together produce the artwork.»6 On the one hand, Höller almost brutally 6 Jan Åman, Carsten applies strict divisions to his works and entire exhibitions, and on the Höller, and Ulf Linde, “It’s All a Unity of Poetic Form: A other hand, he produces disorienting experiences that disturb our ration- Conversation about Marcel ale and transcend that which can be expressed by means of language. Duchamp”, in Gary Carrion- Murayari (ed.), Experience, cit., p. 212.

Either Or, Neither Nor

In his 2002 text “Smoke/New Behaviors”, Höller describes two possi- ble courses of action, proposing a Schrödingerian state of pursuing both simultaneously. The text outlines methods for being both a smoker and a non-smoker at the same time, for instance by leading double lives, and reasons dialectically why smokers are essentially non-smokers once they light a cigarette.7 Similarly, Alain Resnais’s flm Smoking/No Smoking (1993) 7 Carsten Höller, “Smoke/ splits in the beginning, when Celia Teasdale, one of the protagonists, passes New Behaviors”, in Gary Carrion-Murayari (ed.), a table with a pack of cigarettes on her way from the house to the garden Experience, cit., pp. 215–218. shed, and decides to take a smoke – or not – whereupon two distinct flms evolve differently. Höller might motivate us to believe that the exhibition we experience after choosing the left corridor is utterly different from its right counterpart. However, both are, except for the mirrored layout, exactly the same. Or, perhaps our experience is different indeed, not least due to the division of functions between left and right side of the brain; and because we share our visit with other people who are concurrently present, yet chat, use artworks, and change position – and so we never end up in the same constellation twice.

Höller’s partitions call to mind divided cities like Berlin up until 1989, or the artist’s birthplace Brussels. Yet, they divide to produce difference within sameness, or, if you will, sameness within difference. The division of the space requires visitors to memorise one side of the exhibition so that they can make sense of it when they visit the other side. However, especially in the case of Twins , even memorising does not help much, since by the time visitors reach the other side, the situation has changed and the work has moved on, and so the only way of flling in the gaps is by using our imagination. In this sense, Höller’s works engage in fction making, or poiesis, creating «temporary

29 to movie theatres in the United States are lit constantly most of the time, since the early 20th century, referred while at random intervals, they start 30 Ben M. Hall, “The to as “scintillating electric tiaras”30 by fickering at the same frequency of Crown Jewels”, in Marquee, theatre historian Ben M. Hall in 1928. 7.8 Hz that Hans Berger observed The Journal of the Theatre His- torical Society, vol. 1–5, 1928, Their look was infuenced by social for alpha brain waves. The work is page number unknown. and economic circumstances of the devised as a rolling means of trans- time; technological advancements portation based on Leonardo da such as in the automobile industry Vinci’s study of human proportions, allowed for applications to be used in Vitruvian Man (ca. 1490). The inner other areas such as entertainment as shell is equipped with ball bearings, well, whereas World War II affected allowing users to sit inside and roll the materials available and thus the downhill with gravity helping them designs. The tenderly twinkling and to remain seated upright. Yet, upon fashing lights make the Marquee actual use, the sphere could easily appear both nostalgic and anachro- turn into a suicide machine as body nistic; a remainder of the vernacular limbs sticking out of the holes of the entertainment of the past century, globes would be cut off. and a technomorph or even futuris- tic object at the same time.

Marquee formed part of a larger, temporally-synchronised installation of 31 Curated by Andrea marquees during Parreno’s exhibition “Hypothesis”31, which preceded Lissoni, the exhibition was “Doubt” in the same space, and remained as a remnant at its exact same held from 22 October 2015 until 14 February 2016. position during Höller’s show. In fact, the height of its hanging defned the position at which Höller’s Yellow / Orange Double Sphere is installed, and it seems as if the latter were mimicking the fickering of Parreno’s installation, or vice versa. With this apposition, a split in time is suggested, as Parreno’s exhibition afterglows from the past while the programme of the exhibition space continues its course into the future. The parallel works are a nod to common references by both artists, a citation of one another, and past collaborations between them, and a comment on the chrono- logical sequel of both artists’ exhibitions in the programming of the space.

You and Your Other You

For their synchronous exhibitions in Paris in 1997, Höller and the artist Maurizio Cattelan created two identical shows at Air de Paris and Galerie Perrotin, two neighbouring galleries with similar spaces. Cattelan copied Höller’s exhibition, producing identical works at the same production companies and presenting them as his own. Cattelan refers to

40 this doubling as “xerox Buddhism”32, a precise knockoff or copying, tak- 32 Maurizio Cattelan, ing the much talked about death of the author one step further. The “Double”, in Gary Carrion– Murayari (ed.), Experience, shows proposed identity theft and an experiment in democracy in which cit., p. 80. both artists and exhibitions were equal.

For the 2001 group show “4Free” at the BüroFriedrich in Berlin, Höller’s contribution entailed a different spelling of his own name on the list of participating artists: “Karsten Höller”. In misspelling his own name, he applied the conceptual doubling principle to himself. In 2004, Höller exhibited at Casey Kaplan in New York, under the same alternative spelling of his name. The exhibition included the Mushroom prints and Revolving Doors (2004), an installation of which a new iteration is shown at Pirelli HangarBicocca, integrated into the central dividing wall. Revolving Doors consists of fve freestanding star-shaped constructs with mirrored glass doors, oriented in a pentagon shape that allows passage between the different doors (which can be turned like other revolving doors). Due to the mirrored refections, moving through the turning wings confuses the viewer’s perception: «Höller produces a very peculiar state of mind, something near to a loss of orientation, a kind of perplexity of not knowing what to do, a reduced ability to manoeuvre while, at the same time, experiencing joyful, happy, self-suffcient, purifed and introspective feelings.»33 The quote is attributed to German writer and psychologist 33 The quote by Baldo Baldo Hauser. Yet Hauser is Höller himself, or rather one of his many Hauser appears in Jens Hoffmann and Joan Jonas, pseudonyms, such as Baldo Hanser (note the upside down “u”), Barbara “Room Eight: The Performer Hauser (Baldo’s female counterpart), A.J. Florizoone, Carl Roitmeister, as Is in All of Us”, in idem (ed.), Art Works: Perform (London– whom he published a devastating review in the exhibition catalogue of his New York: Thames & Hudson, own show at Kunsthaus Bregenz (2008), and, of course, Karsten Höller. 2005), p. 172.

Höller often speaks of himself in the frst person plural. He utters sen- tences like «We built the corridors»34; making one wonder whether he 34 As told to the author by is speaking about himself and his collaborating producers, or himself as the artist. multiple personae at once. In an interview with curator Jens Hoffmann, Höller says: «The object becomes an extension of the body. You extend your phenotype. It is not you and the object: the object and you are you. It’s all you. But I should say, its [sic] all “yous”. Because there is no one you, but always at least two yous. From the moment in which you have a concept of yourself, who is having this concept if not your other you?»35 35 Jens Hoffmann and The quote calls to mind Alain Resnais’ splitting of the same flm, and the Carsten Höller, “Carsten Höller: The Synchro System Lacanian distinction between subject and ego, the latter of which, how- and You(s)”, in Flash Art 34, no. ever, only emerges in identifying with its imaginary mirror double, the 218, May / June 2001, p. 131.

41 frustration of which is constitutive for the ego. Or, as philosopher Slavoj Žižek writes: «The logic of this reversal is strictly Hegelian: what frst appears as an external hindrance frustrating the ego’s struggle for satis- 36 Slavoj Žižek, Tarrying faction is thereupon experienced as the ultimate support of its being.»36 with the Negative: Kant, Hegel, and the Critique of Ideology (Durham: Duke University The work The Forests (2002-2015), included in the Hayward Gallery Press, 2003), p. 98. exhibition, consummates this splitting of the same I. Wearers of the vir- tual reality goggles are visually immersed into a wintery forest. As the camera approaches a tree, the vision splits: the left eye passes by the tree on the left, and the right eye on the right side, to then reunite for a short moment, only to break apart again. The shift happens very fast – so fast that viewers hardly realise it. The brain tries to overcome the cognitive dissonance, which counters the supposed knowledge that this doubling of vision is both illogical and unfeasible. Höller, then, attempts to over- 37 Carsten Höller and Ralph Rugoff, “Carsten Höller come the neurological impossibility of seeing two things at once: «With in Conversation with Ralph The Forests I was trying to break that hierarchy, or even dictatorship if Rugoff. Part One: Punishment and Reward”, in Ralph Rugoff you want to call it that, of the single image. I wanted to see if you could (ed.), Decision, cit., p. 48. do with your eyes what you do perfectly well with your ears.»37

Fara Fara

A jumping to and fro, or difference within the same, takes place also in the work Fara Fara (2014), a two-channel video of which each screen is dedicated to one Congolese musician: Werrason and Koff Olomide. “Fara Fara” means face-to-face in Lingala, and refers to a musical phe- nomenon in the Democratic Republic of Congo, when musicians wage musical “battles” that sometimes attract hundreds of thousand of spec- tators. The level of cheering and applause determines the winner of the competition. Allegedly, political disputes have been settled this way. In Fara Fara, the screens are alternately active while recounting the respec- tive musician’s story. They are also active during the few moments when the narratives overlap, when the flms are projected simultaneously on both. The work is the result of a collaboration between Höller, the flm director Måns Månsson and cinematographer Hoyte van Hoytema, and is a trailer for a longer flm that hasn’t been made yet. The unrealised 38 Carsten Höller, “Fara project found another manifestation in the identically-titled book pub- Fara” – A Film Not Made (Milan: Humboldt Books, lished in 2015, including a text by writer Elin Unnes and pictures by 2015). photographer Pierre Björk taken during a joint trip to Congo. 38

42 Kinshasa is getting ready. A Congolese Kinshasa is wrapping up. A Congolese mega music star is holding a casting mega music star has just won the larg- for dancers in preparation for the est music battle in the history of the largest music battle in the history country. His name is Werrason. He of the country. His name is Koff faced his biggest rival in an all-night Olomide. He will face his biggest concert, drawing 150,000 people. At rival in an all-night concert, drawing the end of the clash, he went down 150,000 people. At the end of the in the books of history. The whole of night, they will decide who of the two Kinshasa was cheering to Werrason’s musicians will go down in the books music, from Papa Wemba, to the of history. The whole of Kinshasa is crowd of thousands who celebrated listening to Koff Olomide’s music, the winner, waving branches of trees from families at home to workers through the air at the end of the night dancing on a roof top. – or rather the next morning.

From C to K to K to C

Höller frst encountered Congolese culture in 1995, when he happened 39 Carsten Höller and to hear a song by Koff Olomide in a night club in Benin. Since then, Hans Ulrich Obrist (2011), “Je Sont Deux”, The Double he has made regular trips to the Congo and has developed a fascina- Club, cit., page unnumbered. tion with the country’s music. The length of Congolese songs expands beyond the standard duration of Western pop tunes. Further, the com- 40 In an interview with Hans Ulrich Obrist in 2011, plexity of their structure surpasses Western variations of verse and Höller states: «Anyone repetitive refrain. When listening to a track for a while, you get a feeling interested in the subject [of 39 the visual representation that the same piece of music is in fact several songs played in parallel. of the Congo in the West] should read and ponder that It is tempting to think that switching to K from C, to “Karsten” from wonderful article by Nicholas Mirzoeff. It’s called ‘From “Carsten”, is connected to visual culture theorist Nicholas Mirzoeff’s Kongo to Congo’, spelled article “Transculture: from Kongo to the Congo”, which Höller says frst with a K and then with 40 a C». Carsten Höller and has impacted him. In the article, Mirzoeff describes how the visual is Hans Ulrich Obrist, “Je Sont replacing the linguistic in our means of understanding and communi- Deux”, in The Double Club, cating in the digital age; and specifcally how the «European re-inven- (Milan: Progetto Prada Arte, 2011), page unnumbered. tion of the Congo in the 1870s gave way to a visual representation of the heart of darkness»41 prompted by the advent of mass production 41 Nicholas Mirzoeff, “Inventing The Heart of Dark- of dry-plate photography used during colonial missions that were dis- ness”, in idem (ed.), An Introduc- guised as civilized undertakings. Congo is yet another divided – or tion to Visual Culture (London: doubled – country, and, according to Mirzoeff, an important site of Routldege, 2009) p. 135. 42 transculturalisation of modernity. 42 Ibidem, p. 135.

43 The Double Club

What started with a fascination for Congolese music has consoli- dated in an attempt to show a largely unknown side of a country of which mostly horror stories prevail in Western media. In 2008–2009, Höller turned an old Victorian-era warehouse in London’s Islington district into the now legendary The Double Club. The project con- sisted of a night club, a bar and a restaurant in three adjacent and interconnected venues. The night club was divided into two sides, one of which was dedicated to Congolese and the other to Western culture. Similarly, the bar was divided into four sections – two Congolese, two Western – while the restaurant was organised like a three-dimensional chessboard. The divisions applied to the furni- ture, food, drinks, music, and artworks, among others by Congolese artist Chéri Samba, whose paintings were hanging on the Western walls alongside Western artists Olle Baertling and Alighiero e Boetti (yet another divided personality). Congolese bar sections were further equipped with yellow and red plastic chairs, and Primus beer ads on the walls, while the Western side boasted brasserie tiles and Portuguese azulejos, and a cocktail bar made out of copper, designed by designers Kram/Weisshaar. The menu was equally divided, but served the same food at Congolese and Western tables. On Fridays, Western DJs played in the night club, and Western music was heard in the bar and restaurant. On Saturdays, Congolese bands performed for the dance foor, and Congolese DJs played before and after the live sessions. Thursdays saw a shift between Congolese and Western music, with DJs alternating between the two, depending on whether their booth, which was installed on a slowly rotating dance foor, was in the Congolese or Western section of the room.

Visitors to the The Double Club stepped into a three-dimensional col- lage, passing along clear-cut lines between Congolese and Western sides. As Höller puts it: «I truly believe in the power of letting things

43 Daniel Birnbaum, stand next to each other with identical claim to importance», adding, “Carsten Höller’s Double «the more I think about it, the less I see any real reason for making Club”, Artforum International, up one’s mind choosing one over the other».43 In an interview with 12 April 2009, p. 85. the curator Hans Ulrich Obrist, the artist describes The Double Club 44 Carsten Höller and as an attempt at «fnding a sort of new symmetry, if you will, one Hans Ulrich Obrist, “Je Sont Deux”, in The Double Club, which is not about the doubling of similarity but a doubling of the cit., page unnumbered. opposite»44. Or, rather, it is not only about doubles or divisions, but

44 the multiple yous; the more than one lives that exist next to each other, yet within the same. In this sense, when your innermost self is listening to what you are thinking, that is perhaps comparable to an inner The Double Club.45 45 Ibidem.

The I Is Not at All There

In fact, in his video Muscimol 3. Versuch (1997), after ingesting a tea sea- soned with fy agaric mushrooms, a perplexed Höller marvels whether the bacteria in his intestines are in fact everywhere, beings without materiality but only ever changing states that make up and affect our own being. He goes on to wonder whether these states make up the I, and if, perhaps, the I doesn’t exist at all: «Maybe that which I am, here, is only a conglomerate of diverse cohabitors, some more present than others, but none of which is actually the own, the one that I am. Perhaps the one that is I is not at all there»46. 46 Carsten Höller, Muscimol 3. Versuch, 1997. VHS, b&w, Höller’s hallucinatory ramble is perhaps a key to understanding his sound, 14’8’’. Original art. When we experience his exhibitions, we are not only made to in German, excerpt between 9’34’’– 9’58’’: choose between left and right, or right way up and upside down. We “Vielleicht ist das, was ich have an inner dialogue with ourselves, with our other selves. This back hier ausmache, überhaupt nur ein Konglomerat and forth is not only perceptible in the The Double Club or the divided von den verschiedensten and alternately active screens of Fara Fara, but also in the exhibition Mitbewohnern, manche “Soma”, oscillating between hallucination and reality, and the two stärker präsent, andere weniger, aber keiner von jumping dots producing a third one in Phi Wall II. By thinking duality, and diesen Mitbewohnern ist being simultaneously doubled and divided, we are prompted to refect tatsächlich der Eigene, der, 47 der ich bin. Vielleicht ist ja on ourselves. Höller asks us to «appreciate perplexity for what it is» . der ich ist gar nicht da.” And so, doublings and divisions are perhaps the «only solution to avoid (translation by the author). certainty about doubt itself»48; and in our inner dialogue and quarrel of 47 Jonathan Shaughnessy, being two or more things at once, we can – possibly – conceive alter- “A Double History of Doubt native forms of knowledge of ourselves, different worlds, and other in the Work of Carsten Höller”, in Marcia Rodríguez courses of action. But then again, who knows? Uncertainty is the only (ed.), op. cit., p. 56. certainty in Höller’s art. 48 Ibidem, p. 16.