It's not often that the exit's the best thing about an exhibition (except when it's particularly bad), but in Carsten Höller's case, the exit to his latest show really is exceptional: a fabulous, whirligig slide that ejects you with a little less dignity than you went in with, but laughing like a child.
And it's certainly not the only thrill in the show - Decision', showing at The Hayward Gallery till September 6th...
The Belgian artist, of German parentage and currently residing in Stockholm, has just been given his biggest UK showcase to date by the Hayward, with the splendid slide tying everything neatly together with the slides he created for the Turbine Hall at Tate Modern in 2006, the installation that established his reputation in the UK.
But from the end to the beginning: the exhibition starts with heavy metal too: a completely-enclosed metal corridor, which is barely lit and which leads you up slopes and down again and round corners and has you edging along as you fight the impending claustrophobia.
Other sensorily-challenging thrills in the exhibition include a flying machine with a ton of harnesses (I was in work clothes - definitely not the right moment) and pairs of upside down headset-goggles, which you wear in a well-guarded roof terrace area and which were so debilitating I lasted under a minute.
Other exhibits - in what very much felt more like exhibition design overall than art - included randomly-moving hospital beds and, my favourite, a pile of very Pop Art pills, added to every few seconds by single pills on a timer dropping from the ceiling.
It was all great fun to experience and reminded me of a Victorian house of curiosities. Some elements - like the room where a documentary on music from Mali was being shown - felt really ill-fitting and odd.
Overall, there's little here for the soul or even the eyes and the whole is disjointed, but still hugely entertaining - the curious products of a curious mind.