Marseille

Installation views, Musée d’Art Contemporain, Marseille, 2004. Photos: Attilio Maranzano. Clockwise from top: Carsten Höller, Sliding Doors, 2003. Carsten Höller, Hotel Room, 2004. Carsten Höller, Hotel Room, 2004.

Installation views, Musée d’Art Contemporain, Marseille, 2004. Photos: Attilio Maranzano. Clockwise from top: Carsten Höller, Sliding Doors, 2003. Carsten Höller, Hotel Room, 2004. Carsten Höller, Hotel Room, 2004.

Carsten Höller

[mac] musée d'art contemporain de Marseille

Carsten Höller has come up with a novel approach: more of the same. For his current exhibition at MAC, Höller has simply duplicated a selection of his own works from the last decade, from Moving Image, 1994–2004, to Hotel Room, 2004 and placed both editions on view. These twin sets transform the museum into an architectural Rorschach blot, as each pair is separated and installed in parallel spaces at opposite ends of the building. The axial “fold” includes—what else?—a hall of mirrors, Sliding Doors, 2003, which extends Alice’s step through the looking glass: Five sets of mirrored doors open and close automatically around viewers, who are briefly trapped by their own reflections as they make their way through the passage.

Despite its retrospective and reflexive structure, Höller’s “Une exposition à Marseille” is less a career survey than a continuation of the artist’s recent experiments in

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