Without participation, the exhibition falls flat—you need to strap yourself into the flying machine and spin on the roof or put on upside-down glasses and stumble around. This is a show that demands to be played with, and if the games are uncomfortable or impractical, then tough. (Wear sneakers and trousers, and leave your vertigo and claustrophobia at home.)
The simplest games and rules in Höller’s world work best—such as a giant set of dice to crawl around and stick your head into, or a blurry fairground memory-card game. The anomaly of the show is perhaps the true highlight: a two-screen film titled Fara Fara, also shown at this year’s Venice Biennale. The piece documents the buildup to a sound clash between local musicians in Kinshasa, Congo. Beautifully shot, the installation has little of the playful fantasy of the rest of the exhibition and feels like a genuine engagement with passion and experience.