(...) "Just one more thing about the Laboratory of Doubt, which is by no means straightforward. It is not clearly a work of art, nor is it a run-of-the-mill car. It is neither the one nor the other, because there is nothing exclusive about it. This alone makes it prone to sow doubt. That's why it has been fitted with loudspeakers, to be able to execute this act as a public announcement. But since nothing was announced over the loudspeakers, since neither I nor any of the people I asked had any idea what to announce, no spreading of doubt (in the sense of an action) took place. The Laboratory of Doubt is suspended in an ambiguous intermediary state. Doubt cannot be considered. When put into a form that might potentially be considered, it looses its character. Thus one may only doubt how, or whether, doubt should be implemented."

(...) "Doubt is alive. It paralyses certainty. It is a parasite because it cannot live without its host. It develops in the same structures as information, while being the opposite. It spreads from body to body and within the body, viruslike. It is oppressed, but its oppression turns out to be its best promotion."

Laboratory of Doubt 1999	Umkehrbrille/Upside Down Glasses 2001 Courtesy Schipper & Krome, Berlin

Carsten Höller was born in 1961 in Brussels and studied agricultural sciences at the University of Kiel. Afetr earning his Ph.D. in insect behavior, he turned his attention to working as an artist. His work, heavily influenced by his studies, is focused on evolutionary forces and human emotion. Some solo exhibitions include the Kunstverein Hamburg (1996); Moderna Museet, Stockholm (1999); Musée d'Art Moderne de la Ville de Paris (1999); Kiasma, Helsinki (2000); Laboratorium, Antwerp (2000) and at the Fondazione Prada, Milan (2000). His group exhibitions include the Biennale de Lyon (1995) and documenta X (1997).