Based on his knowledge as a biologist, Carsten Höller is, in his works, partly concerned with the theory of evolution, which sees human feelings, such as love and happiness, first and foremost as strategies for the successful propagation of one’s own genetic inheritance. He does not only question this, but also doubts the validity of certain social theories which have become widespread with the general helplessness.

Gordon’s Gin consists of a former elevator, which Höller cut vertically into four sections, thus robbing it of its function. The sectioning of the elevator can also be seen as a reference to the “carving work” American artist Gordon Matta-Clark carried out on several buildings – an allusion which is also expressed in the title. Other ideas which can be recognised in Gordon’s Gin are terms such as “laboratory of doubt” or “helplessness”, which the artist mentioned in the 1999 evn collection catalogue. The motif of the dysfunction of an object which is really an encapsulation of movement, and the irritation that it leaves behind with the viewer, become symbols of a consciously instigated “helplessness”. This brand of insecurity or doubt stands as the polar opposite to the idea of prosperity and affirmation customary in our society.

Hans Ulrich Obrist, 2005 (translation: Tim Sharp)