positivism
We live in a world with mirrors.
Often we see ourselves while we're looking outside.
We also see the past.
Jeppe Hein creates a labyrinth of mirrors, with a clear route, an entrance and an exit. A labyrinth gives peace of mind, allows us to ask questions, helps us to meditate.
To what extent gives our self-mage peace of mind? This question is confronting. Deep in our hearts we know that we are oké: our body, our behavior, our past. I know it’s hard to get rid of my destructive patterns, that they give me a daily battle, that positivism needs to be created every time.
Can we also look at the world without seeing ourselves? Can we look in the eyes of the other? May plants and animals be here for 100% with clean air, with enough space, with protection against exhaustion? I know that I spend too much, that I use too much raw material, that it’s difficult to be climate-neutral or even -positive, that I get small results.
Mirror Labyrinth by Jeppe Hein is a confronting artwork.
By Theo, www.artatsite.com
Vertaling
positiviteit
We leven in een wereld met spiegels.
Vaak zien wij onszelf terwijl we naar buiten kijken.
Ook zien wij het verleden.
Jeppe Hein maakt een labyrint van spiegels met een duidelijke route, een ingang en een uitgang. Een labyrint stelt gerust, stelt ons vragen, helpt ons mediteren.
In hoeverre stelt ons evenbeeld ons gerust? Deze vraag is confronterend. Diep in ons hart weten we dat we oké zijn; ons lijf, ons gedrag, ons verleden. Ik weet dat mijn destructieve patronen hardnekkig zijn, dat ik ze dagelijks bevecht, dat ik positiviteit steeds weer moet creëren.
Kunnen wij ook naar de wereld kijken, zonder onszelf te zien? Kunnen wij de ander in de ogen kijken? Mogen planten en dieren er voor 100% zijn met een schone lucht, met voldoende ruimte, met bescherming tegen uitputting? Ik weet van mijzelf dat ik teveel uitgeef, dat ik teveel grondstoffen vraag, dat het moeilijk is om climate-neutraal of zelfs -positief te leven, dat ik kleine successen boek.
Mirror Labyrinth van Jeppe Hein is een confronterend kunstwerk.
Door Theo, www.artatsite.com
www.archdaily.com:
Playful, inventive, and immediately striking, Hein's work engages audiences as "active participants," inviting spontaneity and user interaction. Curated by Nicholas Baume, the exhibition contains three bodies of work by Hein: the soaring water jets of Appearing Rooms, the sixteen bright red benches of Modified Social Benches, and the reflective vertical planks of Mirror Labyrinth NY.
The mirror-polished stainless steel posts are arranged in three radiating arcs that form the eponymous labyrinth, distorting the surrounding park and city. Mirroring the irregularity of the Manhattan skyline across the river, the posts are set at various heights, but maintain a consistent width.
Visitors are encouraged to walk the pathways formed by the negative space of Mirror Labyrinth NY, with each step further altering their already shifted perception of the installation site. The mirrored posts appear to recede into the landscape at times and boldly contrast it at others, ensuring a unique experience for each individual visitor.
Mirror Labyrinth NY alternately obscures and reveals its environment, providing a rich new perspective of lower Manhattan.
www.artsy.net:
Jeppe Hein creates dazzling installations that engage viewers with their reflective surfaces and immersive elements. His wry, experiential works bridge art, architecture, and technology.
They are in dialogue with both Minimalism and Conceptualism and often feature text, sound, and spare three-dimensional forms. Within Hein’s work, the divisions blur between art, environment, and audience.
His Shaking Cube (2004), for example, rattles whenever someone approaches—the work is only complete, in other words, with people nearby.
www.northeurart.wordpress.com:
His experimental and interactive artworks are in the middle of contemporary art range, as actually positioned at the junction of sculpture, architecture and multimedial installation. Though his work surely joins the parameters of Minimalism and Conceptual Art of the 1970s, it preserves a freshness and an ironical component totally original and surprising.
Besides, the human factor is essential in order to make the installation work.
Mirrors and other reflective surfaces are perfect to ensure a communication between human being and art. Our reflection is natured one of the most attractive thing to analyze: there is no mistery more fascinating than ourselves.
Jeppe Hein exploits visual phenomenons and different ways to introduce the viewer to a certain point of view: corner and angles are carefully studied to present new sights, new slants, new outlooks.
The space is stretched and compressed, it becomes ambiguous, it’s a new land where we are fleeting presences.
The final effect is simply amazing, especially when inserted in a particular environment. “3-Dimensional Circle” is a combination of semi-circular openings in each of the three mirrors set in the wood. The sculpture suddenly merges with the surrounding environment and revives only when the viewer approaches: it’s a physical and psychological challenge, that push the observer to interact with Hein’s work in active and playful manner.
www.thedonumestate.com:
Hein lives and works between Copenhagen and Berlin. His interactive sculptures and installations combine elements of humour with 1970s traditions of minimalism and conceptual art. Hein studied at the Royal DanishAcademy of Art between 1997 and 2003 and at the Sadelschule in Frankfurt between 1999 and 2000. He has had many international solo exhibitions, including 'Please Touch the Art' with New York’s Public Art Fund in Brooklyn Bridge Park (2015), which drew record crowds. Hein's works are found in major public collections such as Tate in London, the Centre Pompidou in Paris, Arken Kustmuseum, in Denmark, Museum für Moderne Kunst, in Frankfurt, Germany, and the Museum of Contemporary Art, in Los Angeles.
In 2009 the artist suffered a severe and well-documented burn out and completely changed his life to focus on slowing down. Sincehis experience of mental and physical breakdown and recovery has fed his work, which has evolved and gained a global reputation. As the artist comments: 'I don’t think that I can directly change the world with my art, but I would like to achieve the opposite of what society is doing at the moment. I am concerned with deceleration, a smile, eye contact, with being in the moment and enjoying it.'
www.wikipedia.org:
Jeppe Hein (born 1974, Copenhagen, Denmark) is an artist based in Berlin and Copenhagen. His interactive sculptures and installations combine elements of humour with the 1970s traditions of minimalism and conceptual art.
In 2008, Hein collaborated with Dan Graham on a temporary pavilion in Cologne.
Between September 2009 and January 2010, Hein stayed at Alexander Calder’s studio in Saché, France, as a part of an artist in residence programme.
Modified Social Benches located in the Montenmedio Sculpture Park, Cadiz, Spain. These benches are also located in other places around the world, including Miami, Helsinki and Auckland.
We live in a world with mirrors.
Often we see ourselves while we're looking outside.
We also see the past.
Jeppe Hein creates a labyrinth of mirrors, with a clear route, an entrance and an exit. A labyrinth gives peace of mind, allows us to ask questions, helps us to meditate.
To what extent gives our self-mage peace of mind? This question is confronting. Deep in our hearts we know that we are oké: our body, our behavior, our past. I know it’s hard to get rid of my destructive patterns, that they give me a daily battle, that positivism needs to be created every time.
Can we also look at the world without seeing ourselves? Can we look in the eyes of the other? May plants and animals be here for 100% with clean air, with enough space, with protection against exhaustion? I know that I spend too much, that I use too much raw material, that it’s difficult to be climate-neutral or even -positive, that I get small results.
Mirror Labyrinth by Jeppe Hein is a confronting artwork.
By Theo, www.artatsite.com
Vertaling
positiviteit
We leven in een wereld met spiegels.
Vaak zien wij onszelf terwijl we naar buiten kijken.
Ook zien wij het verleden.
Jeppe Hein maakt een labyrint van spiegels met een duidelijke route, een ingang en een uitgang. Een labyrint stelt gerust, stelt ons vragen, helpt ons mediteren.
In hoeverre stelt ons evenbeeld ons gerust? Deze vraag is confronterend. Diep in ons hart weten we dat we oké zijn; ons lijf, ons gedrag, ons verleden. Ik weet dat mijn destructieve patronen hardnekkig zijn, dat ik ze dagelijks bevecht, dat ik positiviteit steeds weer moet creëren.
Kunnen wij ook naar de wereld kijken, zonder onszelf te zien? Kunnen wij de ander in de ogen kijken? Mogen planten en dieren er voor 100% zijn met een schone lucht, met voldoende ruimte, met bescherming tegen uitputting? Ik weet van mijzelf dat ik teveel uitgeef, dat ik teveel grondstoffen vraag, dat het moeilijk is om climate-neutraal of zelfs -positief te leven, dat ik kleine successen boek.
Mirror Labyrinth van Jeppe Hein is een confronterend kunstwerk.
Door Theo, www.artatsite.com
www.archdaily.com:
Playful, inventive, and immediately striking, Hein's work engages audiences as "active participants," inviting spontaneity and user interaction. Curated by Nicholas Baume, the exhibition contains three bodies of work by Hein: the soaring water jets of Appearing Rooms, the sixteen bright red benches of Modified Social Benches, and the reflective vertical planks of Mirror Labyrinth NY.
The mirror-polished stainless steel posts are arranged in three radiating arcs that form the eponymous labyrinth, distorting the surrounding park and city. Mirroring the irregularity of the Manhattan skyline across the river, the posts are set at various heights, but maintain a consistent width.
Visitors are encouraged to walk the pathways formed by the negative space of Mirror Labyrinth NY, with each step further altering their already shifted perception of the installation site. The mirrored posts appear to recede into the landscape at times and boldly contrast it at others, ensuring a unique experience for each individual visitor.
Mirror Labyrinth NY alternately obscures and reveals its environment, providing a rich new perspective of lower Manhattan.
www.artsy.net:
Jeppe Hein creates dazzling installations that engage viewers with their reflective surfaces and immersive elements. His wry, experiential works bridge art, architecture, and technology.
They are in dialogue with both Minimalism and Conceptualism and often feature text, sound, and spare three-dimensional forms. Within Hein’s work, the divisions blur between art, environment, and audience.
His Shaking Cube (2004), for example, rattles whenever someone approaches—the work is only complete, in other words, with people nearby.
www.northeurart.wordpress.com:
His experimental and interactive artworks are in the middle of contemporary art range, as actually positioned at the junction of sculpture, architecture and multimedial installation. Though his work surely joins the parameters of Minimalism and Conceptual Art of the 1970s, it preserves a freshness and an ironical component totally original and surprising.
Besides, the human factor is essential in order to make the installation work.
Mirrors and other reflective surfaces are perfect to ensure a communication between human being and art. Our reflection is natured one of the most attractive thing to analyze: there is no mistery more fascinating than ourselves.
Jeppe Hein exploits visual phenomenons and different ways to introduce the viewer to a certain point of view: corner and angles are carefully studied to present new sights, new slants, new outlooks.
The space is stretched and compressed, it becomes ambiguous, it’s a new land where we are fleeting presences.
The final effect is simply amazing, especially when inserted in a particular environment. “3-Dimensional Circle” is a combination of semi-circular openings in each of the three mirrors set in the wood. The sculpture suddenly merges with the surrounding environment and revives only when the viewer approaches: it’s a physical and psychological challenge, that push the observer to interact with Hein’s work in active and playful manner.
www.thedonumestate.com:
Hein lives and works between Copenhagen and Berlin. His interactive sculptures and installations combine elements of humour with 1970s traditions of minimalism and conceptual art. Hein studied at the Royal DanishAcademy of Art between 1997 and 2003 and at the Sadelschule in Frankfurt between 1999 and 2000. He has had many international solo exhibitions, including 'Please Touch the Art' with New York’s Public Art Fund in Brooklyn Bridge Park (2015), which drew record crowds. Hein's works are found in major public collections such as Tate in London, the Centre Pompidou in Paris, Arken Kustmuseum, in Denmark, Museum für Moderne Kunst, in Frankfurt, Germany, and the Museum of Contemporary Art, in Los Angeles.
In 2009 the artist suffered a severe and well-documented burn out and completely changed his life to focus on slowing down. Sincehis experience of mental and physical breakdown and recovery has fed his work, which has evolved and gained a global reputation. As the artist comments: 'I don’t think that I can directly change the world with my art, but I would like to achieve the opposite of what society is doing at the moment. I am concerned with deceleration, a smile, eye contact, with being in the moment and enjoying it.'
www.wikipedia.org:
Jeppe Hein (born 1974, Copenhagen, Denmark) is an artist based in Berlin and Copenhagen. His interactive sculptures and installations combine elements of humour with the 1970s traditions of minimalism and conceptual art.
In 2008, Hein collaborated with Dan Graham on a temporary pavilion in Cologne.
Between September 2009 and January 2010, Hein stayed at Alexander Calder’s studio in Saché, France, as a part of an artist in residence programme.
Modified Social Benches located in the Montenmedio Sculpture Park, Cadiz, Spain. These benches are also located in other places around the world, including Miami, Helsinki and Auckland.