View Jeppe Hein paintings, biography, solo exhibitions, group exhibitions and resource of Jeppe Hein artist. View art online at The Saatchi Gallery - London contemporary art gallery. Jeppe Hein
Jeppe Hein’s works address us individually; though, importantly, we might not have asked them to. Hein delights in apparently serendipitous events, suspending common sense laws of cause and effect and conjuring up scenarios in which, in direct response to our presence, seemingly sentient behaviour is coaxed from inanimate things.
selected GROUP EXHIBITIONS
2005
Museum of Contemporary Art, Los Angeles
MCA, Chicago
2004
Wohnseifer / Hein, Union Projects, London
Moving Parts, Kunsthalle Graz / Museum Jean Tinguely Basel
Performative Installation, Siemens 2004, Galerie für zeitgenössische Kunst, Leipzig
A Secret History of Clay: From Gauguin to Gormley, Tate Liverpool
Gegen den Strich, Kunsthalle Baden-Baden
Quicksand, De Appel, Amsterdam
What did you expect?, Galerie Jan Mot, Brussels
2003
Hein, Schellberg, Wohnseifer, Schnittraum, Köln
The straight or crooked way, Royal Collage of Art, London
Biennial of Ceramic in Contemporary Art, Albisola
Auf eigene Gefahr, Schirn Kunsthalle, Frankfurt
Performative Installation, Galerie für Zeitgenössische Kunst, Leipzig
2002
Ingrepp, Uppsala Kunstmuseum, Uppsala
I promise it`s political, Museum Ludwig, Köln
Fuzzy, Galleria Minini, Brescia
Inside / Outside, Galerie für zeitgenössische Kunst, Leipzig
Hell, neugerriemschneider, Berlin
No Return. Positions from the Collection Haubrok, Museum Abteiberg, Mönchengladbach
2001
Changes possible, Kiel
Biennale di Venezia
Arbeit, Essen, Angst, Kokerei Zollverein, Essen
Frankfurter Positionen 2001, Frankfurt
Strategies against Architecture II, Pisa
Neue Welt, Frankfurter Kunstverein
Take off, Arhus Kunstmuseum
In some of his pieces he articulates a dialogue between the work itself, the person encountering it and the gallery space in which it is sited – though this is a conversation for which one is wholly unprepared. Works of this kind imply a wry relationship both to the Minimalist sculpture of the 1960s and to those forms of institutional critique that sought to question the authority of the museum or gallery space. Yet Hein’s practice does not really fit either tradition – the mode of address and playful tone is at odds with, for example, phenomenological interpretations of Minimalist sculpture, in which the viewer participated in the work but as a relatively abstract presence.
The other wall shows what I chose to create in the end. With this exhibition I’ve been thinking about the gallery’s situation, and how it presents and represents art. How artists can go into an exhibition space and use it to stage their art. My job has been to find out how I, with the room as frame, can make my work function best, while maintaining a relationship with the room itself.
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