​​Carsten Höller applies his training as a scientist to his work as an artist, concentrating particularly on the nature of human relationships. Major installations include Flying Machine (1996), an interactive work in which viewers are strapped into a harness and hoisted through the air; Test Site (2006), a series of giant slides installed in Tate Modern’s Turbine Hall; Amusement Park (2006), a large installation at MASS MoCA of full-sized carnival midway rides operating at dramatically slowed speeds; The Double Club (2008–09), a work designed to create a dialogue between Congolese and Western culture in the form of a London bar, restaurant, and nightclub; and Upside-Down Goggles (2009–11), an ongoing participatory experiment with vision distortion through goggles. Höller’s Revolving Hotel Room, an installation that became a fully operational hotel room by night, was featured in the exhibition theanyspacewhatever at the Guggenheim Museum, New York (2008–09).

Höller was born in 1961 in Brussels to German parents. Major exhibitions and solo presentations include the 50th Biennale di Venezia, Venice (2003); One Day One Day, Färgfabriken, Stockholm (2003); 7th Biennale de Lyon, France (2003); Half Fiction, Institute of Contemporary Art, Boston (2003); 7,8 Hz, Le Consortium, Dijon, France (2004); Une exposition à Marseille, Musée d’Art Contemporain, Marseille (2004);51st Biennale diVenezia, Venice (2005);Test Site, Tate Modern, London (2006); Amusement Park, MASS MoCA, North Adams, Massachusetts (2006); Carrousel, Kunsthaus Bregenz, Austria (2008); The Double Club, Fondazione Prada, London (2008); 28th Bienal de São Paulo (2008); Double Slide, Museum of Contemporary Art, Zagreb (2009); 53rd Biennale di Venezia, Venice (2009); 8th Gwangju Biennale, South Korea (2010); Divided Divided, Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2010); Soma, Hamburger Bahnhof, Berlin (2010); Double Carousel with Zöllner Stripes, Museo d’Arte Contemporanea, Rome (2011); Experience, New Museum, New York (2011); 11th Sharjah Biennial, United Arab Emirates (2013); LEBEN, Thyssen-Bornemisza Art Contemporary, Vienna (2014); 8th Berlin Biennale (2014); 10th Gwangju Biennale, South Korea (2014); Golden Mirror Carousel, National Gallery of Victoria, Melbourne, Australia (2014–15); 56th Biennale diVenezia, Venice (2015);Decision, Hayward Gallery, London (2015); Doubt, Pirelli HangarBicocca, Milan, Italy (2016);Video Retrospective with Two Light Machines, Mu.ZEE, Ostend, Belgium (2016);Y, Centro Botín, Santander, Spain (2017); and Sunday, Museo Tamayo, Mexico City (2019).The Slide at the ArcelorMittal Orbit (2016), Höller’s commissioned addition to Anish Kapoor’s ArcelorMittal Orbit (2012), is permanently installed at Queen Elizabeth Olympic Park, London; and his site-specific Aventura Slide Tower (2018) can be experienced at the Aventura Mall, Florida. Höller’s memorial to Hans Künzi, Denkmal für Hans Künzi, (2017) is installed at SBB CFF FFS, Zürich, Switzerland, whilst Decimal Clock (White and White), (2018) at Centrale Supeléc.is one of his largest light works to date. DAC Slide, (2020) another site specific public slide for the Dansk Arkitektur Center (DAC), in Copenhagen, Denmark, was most recently unveiled in 2020.

Höller lives and works in Stockholm and Biriwa, Ghana.

2022
Augmented Reality

Users are able to augment reality (or reduce reality, which seems more apt) by seeing their screens flicker at 7.8 Hz, a frequency that stimulates brain waves and, after a while, may induce hallucinations – see Light Wall (Outdoor Version), 2021, 7.8 Hz (Vitrine with Golden Fly Agaric Mushrooms), 2019 and Light Corridor, 2016. In addition to the visual modification, the phone’s torchlight goes on and off at 7.8 Hz. The phone also vibrates and makes a clicking stereo sound at this frequency. It is suggested to use the 7.8 app both in the exhibition DAY and outside, also at night or in dark places where the torchlight can interact with the screen image.

2022
Carsten Höller: DAY, MAAT, Lisbon

2021
Dreamverse New York
Therme Art Serpentine, London