Carsten Holler’s latest exhibit at Gagosian Gallery in Chelsea, New York, explores the topsy turvy world where science intersects with art. From rotating mushrooms to spinning mirrored doors, this is a world designed with a celebration of mechanics as much as it’s also a reverence for the natural world. Carsten takes elements like bugs and mushrooms that we normally overlook or even dismiss and celebrates them by positioning them to giant, larger than life proportions.
Holler is considered the Willy Wonka of Contemporary Art. Despite getting a doctorate in biology, where he focused on the ways aphids navigate the earth, he now wants the world to stop making sense and to play in a space of nonsense. It’s about reversing the trappings of a dull predictability and embracing the unexpectedly delightful that disrupts the norm.
Höller gave up on formal science in 1993. The following year a friend gave him one of those books that changed his life. The book was by R Gordon Wasson, a former employee of JP Morgan investment bank, who devoted 25 years of his life from the 1950s to the study of the hallucinogenic properties of mushrooms and their anthropological history. In particular, Wasson speculated that the substance “soma”, which forms the basis of pagan and shamanic societies in certain ancient texts and oral traditions, was derived from the fly agaric mushroom.
One part of Höller’s life, ever since, has been an experimental kind of artistic homage to that theory. In one of his most memorable shows, he installed 14 live reindeer in a gallery in Berlin at Christmas time. Seven were fed on fly agaric mushrooms, seven, as a control, not. The urine of all of the reindeer was collected, bottled and stored in fridges in the gallery. Couples could rent an elevated bed in the room overnight and, if they liked, drink the fabled hallucinogenic urine and see if they believed Santa could fly. Half of it, of course, was simply reindeer piss.