Artland’s Daily Art Pick
Every day collectors at Artland share variety of artworks from around the world, both from their personal collections as well as pieces they’ve seen in a recent gallery opening or got inspired by on the web.
In this feature, we will be presenting you with the highlight of the day, the most interesting, inspiring or moving piece of art posted in the app in the last days together with name of the collector who shared it.
Check the collector’s profile in the app to see their entire collection!
About the artist duo
Based in London and Berlin, Michael Elmgreen (b. 1961, Denmark) and Ingar Dragset (b. 1969, Norway) have worked as a collaborative duo since the mid 1990’s. Well-known for siting a Prada boutique in a Texan desert in 2005, the artists have been commissioned to create a number of sculptures internationally within the public realm: in 2016, their large-scale work Van Gogh’s Ear, which takes the form of a displaced swimming pool sitting upright, transformed the Fifth Avenue entrance to the Channel Gardens at the Rockefeller Center, New York; A Greater Perspective, an oversized and non-functional bronze telescope, was installed on New York’s High Line from 2015 to 2016, simultaneously drawing attention to and disrupting a secret view of the Statue of Liberty; HAN, a contemporary revisioning of the Danish national icon The Little Mermaid, was installed permanently at Kulturevaerftet Helsingør, Denmark in 2012; Powerless Structures, Fig. 101, the winning proposal for the Fourth Plinth Commission selected by the City of London, was on view in London’s Trafalgar Square from 2012 – 2013; and in 2012 the artists were commissioned by the Munich city council to create and curate a programme of installations across Munich’s main squares. The resulting a year-long artistic project, A Space Called Public / Hoffentlich Öffentlich, included the artists’ own work as well as the work of a number of other contemporary artists.
Throughout their career, Elmgreen & Dragset have redefined the way in which art is presented and experienced. Drawing from disciplines as divergent as institutional critique, social politics, performance and architecture, in their sculptures and installations the artists reconfigure the familiar with characteristic wit and subversive humour. From the transformation of New York City’s Bohen Foundation into a 13th Street Subway Station in 2004, to the siting of a Prada boutique in a Texan desert in 2005, and the insertion of institutional spaces within the architecture of a public gallery, as in the Serpentine Gallery’s critically acclaimed The Welfare Show in 2006, their work raises issues around social models and social spaces, and prompts a re-thinking of the status quo.