The artist duo ELMGREEN & DRAGSET have played a significant role in redefining the way in which art is presented and experienced today. They have challenged the generic format of the white cube in various ways and they have transformed museum halls and gallery spaces into wholly different environments, such as a public swimming pool, a subway station, hospital wards, welfare offices, or domestic settings. Their series of works named Powerless Structures - a term inspired by Foucault's theories on power - investigates how the dynamics of both institutional and urban structures might be less stable than we imagine and can therefore be subject to constant negotiation. Working in multiple disciplines such as sculpture, installation art and performance, Elmgreen & Dragset's ongoing spatial interventions decontextualize the familiar with a subversive absurdity. Some examples include siting a forever-closed Prada boutique in the midst of the Texan desert, positioning a statue of a boy riding his rocking horse on the Fourth Plinth in Trafalgar Square in London, installing an upright, 10-metre-tall sculpture shaped like an empty swimming pool and titling it Van Gogh's Ear at New York's Rockefeller Center, or covering the Place Vendôme in Paris with one hundred small red starfish cast in bronze. Based in Berlin, Michael Elmgreen (b. 1961, Denmark) and Ingar Dragset (b. 1969, Norway) have worked together since the mid-1990s. They have held numerous institutional exhibitions at venues around the world such as the Whitechapel Gallery, London (2018) ; Museum Haus Lange, Kunstmuseen, Krefeld (2017) ; Tel Aviv Museum of Art (2016) ; the Ullens Center for Contemporary Art, Beijing (2016) ; PLATEAU, Samsung Museum of Art, Seoul (2015) ; and the Victoria & Museum, London (2013-14). They have been awarded the Preis der Nationalgalerie in Berlin (2002), received a Special Mention at the 53rd Venice Biennale for their Danish and Nordic Pavilions (2009) and were shortlisted for the Hugo Boss Prize (2000). In the Interview LINDA YABLONSKY discusses with the artists their early history, the essence of their collaborative practice and how this has developed over the years. In his Survey, MARTIN HERBERT looks at Elmgreen & Dragset's oeuvre, tracing a comprehensive picture of the trajectory of their work, from the late 1990s performative pieces in Copenhagen to the most recent public projects and their journey to international recognition. In the Focus CONNIE BUTLER examines the socio-political themes that informed the duo's early Powerless Structures. For Studio Visit, JASON SCHMIDT offers a fascinating insight into the place where the artists' ideas come to life. Artists' Writings includes a special section designed by ELMGREEN & DRAGSET featuring extracts from the booklet accompanying their exhibition Tomorrow, a poem by Michael Elmgreen illustrated with images from the photo series The Incidental Self and a diary project made for the magazine Art Review.

Elmgreen & Dragset

Le livre rassemble une vaste documentation sur les multiples facettes de la pratique, de la recherche et des voyages de Grisi, en se concentrant sur les années 1960-1970, avec des essais inédits du directeur artistique du Muzeum Susch, Krzysztof Kosciuczuk, du critique et commissaire italien Marco Scotini, de l'historienne de l'art française Valérie Da Costa, de l'écrivain et critique Martin Herbert, et de Giuliana Bruno, professeur d'études visuelles et environnementales à l'université de Harvard. Il comprend également la réédition d'un entretien fondamental avec Laura Grisi réalisé par Germano Celant en 1990. Publié à l'occasion de l'exposition éponyme au Muzeum Susch en 2021 et au MAMCO, Genève, en 2022.

Laura Grisi - The Measuring of Time

The most comprehensive monograph on Harland Miller, the contemporary British artist beloved for his humorous "book cover" paintings. Harland Miller's creativity as both artist and novelist come together in his iconic paintings of battered book covers with witty, invented titles. Initially appropriating the classic Penguin papaerback before devising his own colouful designs, his highly coveted artworks combine aspects of Pop Art, abstraction and figurative painting and have earned him a cult following. This monograph surveys almost twenty years of Miller's art and includes previously unpublished paintings from his latest series. Alongside chapter introductions taken from conversations with Miller, it features new essays by British critic Michael Bracewell ; Berlin-based writer Martin Herbert ; and Senior Curator for V&A East, Catherine Ince, as well as an illustrated chronology, with photographs and ephemera from the artist's personnal archive.

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