超级资料——Michael Elmgreen and Ingar Dragset （不断整理更新中）
Michael Elmgreen and Ingar Dragset
Michael Elmgreen (left) and Ingar Dragset (right)
点击进入 他们的简历
In 1995 Michael Elmgreen & Ingar Dragset began their collaboration on what has since become a wide range of installations, performances and environmental works. In a series of projects entitled "Powerless Structures" the artist duo challenges the conventional perception of space : Architectural and social structures are reorganised in order to investigate the underlying desires of everyday objects and the mechanisms of ideolo-gical control in even the simple arrangements of walls, ceilings, entrances and exits. The works from this series deal with the issue of altering spatial conditions within various fields of the public realm : the urban landscape as well as the art institutional architecture.
自1995 年起 Michael Elmgreen 和 Ingar Dragset 便一起制作大批的装置，表演， 环境等作品。在一系列名叫 ‘无能结构’的创作里，他们面对了关于对空间感知的常规挑战：建筑学和社会结构在这里被潜在的日常欲望包括对墙，天花板，入口和出口和机制意识形态重组。这系列中的作品应付的是对不同公共领域的空间条件改变：城市环境和公共结构上的建筑。
Powerless Structures, figure 21 (Queer Bar) 无能的结构
1998
MDF, spray paint, beer taps, bar stools
MDF，喷漆，啤酒龙头，酒吧凳子
4 x 10 x 10 feet 英尺
1998
Glass box 玻璃箱
18 x 18 x 9 feet
45 (Dug Down Gallery)
1998
Wood, epoxy paint, halogen spots, table, chair
木头，环氧漆，桌子，椅子
10 x 10 x 8 feet
Powerless Structures, Fig. 111 无能结构
2001
Plywood, plexiglass, aluminum, vinyl, fluoresent lighting
夹板，树脂玻璃，铝，乙烯基，氟石照明
189 x 295 x 590.5 inches, 480 x 750 x 1500 cm
Installation view Portikus, Frankfurt a.M.
Michael Elmgreen (left) and Ingar Dragset (right)
点击进入 他们的简历
In 1995 Michael Elmgreen & Ingar Dragset began their collaboration on what has since become a wide range of installations, performances and environmental works. In a series of projects entitled "Powerless Structures" the artist duo challenges the conventional perception of space : Architectural and social structures are reorganised in order to investigate the underlying desires of everyday objects and the mechanisms of ideolo-gical control in even the simple arrangements of walls, ceilings, entrances and exits. The works from this series deal with the issue of altering spatial conditions within various fields of the public realm : the urban landscape as well as the art institutional architecture.
自1995 年起 Michael Elmgreen 和 Ingar Dragset 便一起制作大批的装置，表演， 环境等作品。在一系列名叫 ‘无能结构’的创作里，他们面对了关于对空间感知的常规挑战：建筑学和社会结构在这里被潜在的日常欲望包括对墙，天花板，入口和出口和机制意识形态重组。这系列中的作品应付的是对不同公共领域的空间条件改变：城市环境和公共结构上的建筑。
Powerless Structures, figure 21 (Queer Bar) 无能的结构
1998
MDF, spray paint, beer taps, bar stools
MDF，喷漆，啤酒龙头，酒吧凳子
4 x 10 x 10 feet 英尺
1998
Glass box 玻璃箱
18 x 18 x 9 feet
45 (Dug Down Gallery)
1998
Wood, epoxy paint, halogen spots, table, chair
木头，环氧漆，桌子，椅子
10 x 10 x 8 feet
Powerless Structures, Fig. 111 无能结构
2001
Plywood, plexiglass, aluminum, vinyl, fluoresent lighting
夹板，树脂玻璃，铝，乙烯基，氟石照明
189 x 295 x 590.5 inches, 480 x 750 x 1500 cm
Installation view Portikus, Frankfurt a.M.
Powerless Structures, Fig. 159 无能的结构
2001
Wood, aluminum, plastic
木头，铝，塑料
49 x 69 x 35 inches
124.5 x 175.2 x 88..9 cm
Powerless Structures, Fig. 185 无能的结构
2001
Wood, paint, stenciled lettering
木头，颜料，钢印字体
39 3/8 x 39 3/8 x 39 3/8 inches
100 x 100 x 100 cm
Powerless Structures, Fig. 187 无能的结构
2001
Wood, stenciled lettering, plaster
木头，钢印字体，石膏
31 1/2 x 55 x 59 inches
80 x 140 x 150 cm
Traces of a Never Existing History, Fig. 222
不曾有过的历史的痕迹
2001
Wood, stainless steel, aluminum, plexiglass, paint and sand
木头，不锈钢，铝，树脂玻璃，颜料和沙
122 x 133 3/4 x 307 inches, 310 x 340 x 780 cm
Installation view Istanbul Biennial
2001
Aluminum, painted metal, plastic, clock mechanism
铝，着色的金属，塑料，时钟的机械装置
Left 28 x 14 x 1 1/2 inches, 71 x 35 1/2 x 4 cm
Right 28 x 18 x 1 1/2 inches, 71 x 45.75 x 4 cm
Powerless Structures, Fig. 246 无能的结构
2001
Aluminum, painted metal, plastic, darts
铝，着色的金属，塑料，标枪
ø 16 x 1 1/2 inches
ø 40 .5 x 4 cm
2003
Installation, 50th Venice Biennale
Utopia Station 乌托邦站
Tonights Show is Cancelled
今晚的节目取消
2003
Tarpaulin, rope, electronics, lights, aluminum structure
防水油布，绳子，电子，灯，铝制结构
187 x 236 1/4 x 196 3/4 inches
475 x 600 x 500 cm
2003
Rollgate, neon sign, and tin garbage can
滚动们，霓虹标志，锡制垃圾桶
122 x 135 x 20 inches
310 x 343 x 50.8 cm
2003
Aluminum roll gate, plexiglass, vinyl letters, neon letters and mirror
铝制滚动门，树脂玻璃，乙烯基文字，霓虹文字和镜子
122 1/4 x 135 1/4 x 20 inches
310.5 x 343.5 x 50.8 cm
Safe / Dot Painting 安全/ 圆点画
2004
Stainless steel, combination lock, canvas and stretcher
不锈钢，结合锁，麻布，担架
54 x 60 inches
137 1/8 x 152 1/2
2004
Stainless steel, combination lock, acrylic paint, pencil, canvas and stretcher
不锈钢，结合锁，丙烯颜料，铅笔，麻布和担架
48 x 48 x 1 1/2 inches
2004
Powder coated steel
涂上粉末的钢
Edition of 15, 3 APs
Somewhere in the World Its Four Oclock/Just a Single Wrong Move/Blocking the View 景色
2004
Animatronic sparrow, motor servo control box, electrical leads
动画麻雀，摩托系统控制箱，电子导
Dimensions variable
2004
Wax, wood, paint, hair, clothing, shoes
蜡，木头，颜料，头发，衣服，鞋子
Edition of 3
Photo booth 照相棚
2004
Mixed media
综合媒体
87 x 38 x 47 inches
221 x 96.5 x 119.4 cm
2005
Wax figure, baby clothes, carry-bed
蜡制体形， 婴儿衣，婴儿手提床
Installation view: Wrong Gallery, NY
Forgotten Baby 被遗忘的婴儿
2005
Wax figure, baby clothes, carry-bed
蜡制体形，婴儿衣服，婴儿手提床
Installation view: Wrong Gallery, NY
2005
Wax figure, baby clothes, carry-bed
蜡制体形，婴儿衣服，婴儿手提床
Installation view: Wrong Gallery, NY
2005
Wax figure, baby clothes, carry-bed
蜡制体形，婴儿衣服，婴儿手提床
30 x 20 x 10 inches
End Station 终点站
2005
Various materials 各样原料
Installation dimensions variable
Installation view: The Bohen Foundation, New York
End Station 终点站
2005
Various materials 各样原料
Installation dimensions variable
Installation view: The Bohen Foundation, New York
2005
Various materials 各样原料
Installation dimensions variable
Installation view: The Bohen Foundation, New York
Uncollected 没收集
2005
Various materials 各样原料
Installation dimensions variable
Installation view: The Welfare Show, at Kunsthall Bergen, Norway
2005
Various materials 各样原料
Installation dimensions variable
Installation view: The Welfare Show, at Kunsthall Bergen, Norway
Current Events, Pt. 2 当前活动
2005
Two C-prints
55 x 45 inches each
140 x 114 cm each
Prada Marfa
2005
Permanent site-specific installation 永久的特定地点的装置
Art Production Fund, Marfa, Texas
2005
Permanent site-specific installation 永久的特定地点的装置
Art Production Fund, Marfa, Texas
Prada Marfa
2005
Permanent site-specific installation 永久的特定地点的装置
Art Production Fund, Marfa, Texas
辛苦啦！想看中文哪!
我翻好了！
hao tie
不要把家里的事都说出去啊!老抬婆矜持点好伐?!
Michael Elmgreen and Ingar Dragset
"The Collectors Danish Pavilion"
at 53rd Venice Biennale, Venice (Italy), 2009
“Tala”, 2006
"The Collectors Nordic Pavilion"
Installation View
Swimming pool venice
he stark space of the nordic pavilion, decked out in scandinavian furniture and the artworks of well-known international
and emerging artists including 'cubes (after sol lewitt)
the mysterious case of mr. B, the imaginary owner of the house, found floating in the pool
image
mr. B carefully took off his shoes and socks before plunging into the water
image
the bed is inset into the floor and has a television nearby playing a compilation of videos including 150 films,
all male mash up and the fall of communism as seen in gay pornography, 2009 (compiled by william e. jones)
at ZKM, Karlsruhe (Germany)- "Celebrity - The One and the Many"
07/11/2010 - 27/03/2011
“ Celebrity – The One & The Many, “ Eine Ausstellung im ZKM | Museum für Neue Kunst, Ausstellungsansicht © Elmgreen & Dragset VG Bild-Kunst, Bonn 2010
“High expectations” 2011
Fibreglass resin, polyurethane resin, acrylic, wood, acrylic paint, oil paint, hair, MDF, acrylic, wax, oil paint on canvas
7.10 feet x 9.10 feet x 35 1/2 inches
"Sculptures Speak No Evil," performance, 2010
Galerie Perrotin
26/11/2010 - 03/09/2011
up coming: at Galerie Emmanuel Perrotin, Paris (France)
07/05/2011 - 18/06/2011
《收藏家》(The Collectors) 展馆是威尼斯双年展上被论及最多的国家馆.在此我们要讨论收藏如何越来越引人侧目? 安娜·菲内尔·霍尼希曼(Ana Finel Honigman): 《收藏家》(The Collectors)讲述的是一个什么样的故事? 他们是一些什么样的人?
艾格林和加塞特(ELMGREEN AND DRAGSET): 《收藏家》(The Collectors)将横跨此次威尼斯双年展的两个展厅.收藏家们彼此是友邻. 他们要我们在丹麦馆和旁边的北欧展馆进行创作,我们于是虚构了这样一些人物: 因为各种不为人知的理由,收藏例如档案、旧泳衣、魏玛时期瓷器等现当代艺术品的身份诡异的收藏家. 我们将丹麦馆改造成住着古怪的一家人的房屋,北欧馆则被设计成时髦单身汉的典型洛杉矶风味的公寓. 北欧馆的收藏家,神秘的B先生,生活糜烂以至于最后下场是正面朝下躺在游泳池里,另一边他离婚的妻子正带着家人搬出屋子,充满了伯格曼电影风格的戏剧.
安娜·菲内尔·霍尼希曼(Ana Finel Honigman,下简称AFH):你们想象出来的收藏家是喜欢艺术还是为了投资?
艾格林和加塞特(ELMGREEN AND DRAGSET, 下简称E&D): 我们更关注收藏行为背后的心理层面.这一个家庭收集艺术和昆虫是因为他们需要在混乱的生活中找到一种秩序或者某种机制. B先生涉足收藏只是为了提升异性对他的好感.他对艺术的热情近乎来自于他的性冲动.
AFH:展览所陈列的艺术品是你们以自身性格挑选的,还是取决于作品中虚拟人物的个性?
E&D:这次展览的策划是一个介于我们对话和独裁之间的过程.可以这么说.
AFH:你们在遇到藏家或在他们家里见到自己的作品时,对自己创作的想法会有所改变吗?
E&D:我们是那种只接触少部分我们的藏家的艺术家.我们的画廊觉得把太多的买家介绍给我们的做法太冒险, 因为我们往往表现得不够好.
AFH:展览中出现的艺术家是你们本身想要收藏他们的作品吗?
E&D:当然,如果我们买得起的话.
AFH:为什么你们选择在国家馆展出这件作品而不做成单纯的可以真正出售的商业展览?
E&D:我们喜欢把公共艺术空间转换为虚构的私人住宅这个想法. 绿堡公园,这次双年展的场地,很像是一座人造小镇.每个展馆不都想种出最大的南瓜吗?
AFH: 你们将B先生历任情人的旧泳衣也列入他的收藏, 这是不是在暗示收藏家们将艺术品的收藏视为一种色欲的占有?
E&D: 有多少个收藏家,就有多少个收藏的理由.这次的展览中, 我们并不企图展现收藏家”真实”的想法,或者就这个问题创作一份科学报告.我们只是想讲述一个关于两个古怪的收藏家的故事.
AFH:是否希望你们虚构的收藏家成为你们现实中的买家?
E&D:我们有兴趣认识那些以我们从未想到过的理由收藏我们作品的买家.
AFH:你们收藏别的艺术家的作品吗?
E&D:我们支持创作临时性作品的艺术家.这也省却了储藏的麻烦.
"The Collectors" is the most talked-about pavilion leading up to Venice. Here we discuss how collecting, more than ever, raises eyebrows: ANA FINEL HONIGMAN: What is the story of "The Collectors"? What kind of people are they?
ELMGREEN AND DRAGSET: "The Collectors" is an exhibition spanning over two venues in this upcoming edition of the Venice Biennale. The collectors are neighbours. Since we were appointed to do something in both the Danish and in the neighbouring Nordic pavilion, we invented these fictional characters: strange identities who collect contemporary and modern art such as flies, used swim wear and Weimar porcelain, for various obscure reasons. We transformed the Danish pavilion into a spooky family home whereas the Nordic one has been turned into a swanky bachelor's pad in the style of a Los Angeles case study house. The collector in the Nordic pavilion, the Mysterious Mr. B., lived a promiscuous life and ended up with his face down in the outdoor swimming pool while the family on the other side just moved out after a divorce and some dramas worthy of an Ingmar Bergman movie.
AFH: Are your imaginary collectors people who buy for love or for investment?
E&D: We have been more interested in the psychology behind the act of collecting. The family collects art and insects because they need order and some kind of system in their miserable lives. Mister B. is collecting because he wants to promote his own sexual identity, and his passion for the arts is closely linked to his sex drive.
AFH: Were you selecting the art on view while in character or did you decide on the fictional characters of "the collectors" from the character clues in the work you selected?
E&D: The show has been developed in a process somewhere between dialogue and dictatorship, yes.
AFH: Has your view of your own work changed when you've met your collectors or seen your work in their homes?
E&D: We are the kind of artists who only meet a few of the people who purchase our works. Our galleries don't think it is safe to introduce too many of them to us since we are not so well behaved.
AFH: Are the artists in the show mostly people whose work you would want to own?
E&D: Yes—if we could afford it.
AFH: Why have you decided to create this piece for a pavilion and not a show, where the work would really be for sale?
E&D: We liked the idea of turning these public art spaces into some fictional private homes. The Giardini—the area of the Biennael—is like a little artificial village where every pavilion tries to grow the biggest pumpkin, isn't it?
AFH: When you decided to include "Mr. B.'s collection of ex-lovers' used swimwear," were you implying that collectors view acquiring artists' work almost like erotic conquests?
E&D: There are as many reasons for collecting, as there are collectors. With this show we don't intend to state the "truth" of collectors' minds or to deliver a scientific report on the topic. We simply had the desire to tell the story about two eccentric collectors.
AFH: Are the fictional collectors you've invented people who you would want to collect your art?
E&D: We like to know that there are people who buy our stuff for reasons that we could never have imagined.
AFH: Do you two collect other artists' work?
E&D: We like to support artists who do ephemeral works. It also solves the problem of storage.
翻译者：鲍静
"The Collectors Danish Pavilion"
at 53rd Venice Biennale, Venice (Italy), 2009
“Tala”, 2006
"The Collectors Nordic Pavilion"
Installation View
Swimming pool venice
he stark space of the nordic pavilion, decked out in scandinavian furniture and the artworks of well-known international
and emerging artists including 'cubes (after sol lewitt)
the mysterious case of mr. B, the imaginary owner of the house, found floating in the pool
image
mr. B carefully took off his shoes and socks before plunging into the water
image
the bed is inset into the floor and has a television nearby playing a compilation of videos including 150 films,
all male mash up and the fall of communism as seen in gay pornography, 2009 (compiled by william e. jones)
at ZKM, Karlsruhe (Germany)- "Celebrity - The One and the Many"
07/11/2010 - 27/03/2011
“ Celebrity – The One & The Many, “ Eine Ausstellung im ZKM | Museum für Neue Kunst, Ausstellungsansicht © Elmgreen & Dragset VG Bild-Kunst, Bonn 2010
“High expectations” 2011
Fibreglass resin, polyurethane resin, acrylic, wood, acrylic paint, oil paint, hair, MDF, acrylic, wax, oil paint on canvas
7.10 feet x 9.10 feet x 35 1/2 inches
"Sculptures Speak No Evil," performance, 2010
Galerie Perrotin
26/11/2010 - 03/09/2011
up coming: at Galerie Emmanuel Perrotin, Paris (France)
07/05/2011 - 18/06/2011
《收藏家》(The Collectors) 展馆是威尼斯双年展上被论及最多的国家馆.在此我们要讨论收藏如何越来越引人侧目? 安娜·菲内尔·霍尼希曼(Ana Finel Honigman): 《收藏家》(The Collectors)讲述的是一个什么样的故事? 他们是一些什么样的人?
艾格林和加塞特(ELMGREEN AND DRAGSET): 《收藏家》(The Collectors)将横跨此次威尼斯双年展的两个展厅.收藏家们彼此是友邻. 他们要我们在丹麦馆和旁边的北欧展馆进行创作,我们于是虚构了这样一些人物: 因为各种不为人知的理由,收藏例如档案、旧泳衣、魏玛时期瓷器等现当代艺术品的身份诡异的收藏家. 我们将丹麦馆改造成住着古怪的一家人的房屋,北欧馆则被设计成时髦单身汉的典型洛杉矶风味的公寓. 北欧馆的收藏家,神秘的B先生,生活糜烂以至于最后下场是正面朝下躺在游泳池里,另一边他离婚的妻子正带着家人搬出屋子,充满了伯格曼电影风格的戏剧.
安娜·菲内尔·霍尼希曼(Ana Finel Honigman,下简称AFH):你们想象出来的收藏家是喜欢艺术还是为了投资?
艾格林和加塞特(ELMGREEN AND DRAGSET, 下简称E&D): 我们更关注收藏行为背后的心理层面.这一个家庭收集艺术和昆虫是因为他们需要在混乱的生活中找到一种秩序或者某种机制. B先生涉足收藏只是为了提升异性对他的好感.他对艺术的热情近乎来自于他的性冲动.
AFH:展览所陈列的艺术品是你们以自身性格挑选的,还是取决于作品中虚拟人物的个性?
E&D:这次展览的策划是一个介于我们对话和独裁之间的过程.可以这么说.
AFH:你们在遇到藏家或在他们家里见到自己的作品时,对自己创作的想法会有所改变吗?
E&D:我们是那种只接触少部分我们的藏家的艺术家.我们的画廊觉得把太多的买家介绍给我们的做法太冒险, 因为我们往往表现得不够好.
AFH:展览中出现的艺术家是你们本身想要收藏他们的作品吗?
E&D:当然,如果我们买得起的话.
AFH:为什么你们选择在国家馆展出这件作品而不做成单纯的可以真正出售的商业展览?
E&D:我们喜欢把公共艺术空间转换为虚构的私人住宅这个想法. 绿堡公园,这次双年展的场地,很像是一座人造小镇.每个展馆不都想种出最大的南瓜吗?
AFH: 你们将B先生历任情人的旧泳衣也列入他的收藏, 这是不是在暗示收藏家们将艺术品的收藏视为一种色欲的占有?
E&D: 有多少个收藏家,就有多少个收藏的理由.这次的展览中, 我们并不企图展现收藏家”真实”的想法,或者就这个问题创作一份科学报告.我们只是想讲述一个关于两个古怪的收藏家的故事.
AFH:是否希望你们虚构的收藏家成为你们现实中的买家?
E&D:我们有兴趣认识那些以我们从未想到过的理由收藏我们作品的买家.
AFH:你们收藏别的艺术家的作品吗?
E&D:我们支持创作临时性作品的艺术家.这也省却了储藏的麻烦.
"The Collectors" is the most talked-about pavilion leading up to Venice. Here we discuss how collecting, more than ever, raises eyebrows: ANA FINEL HONIGMAN: What is the story of "The Collectors"? What kind of people are they?
ELMGREEN AND DRAGSET: "The Collectors" is an exhibition spanning over two venues in this upcoming edition of the Venice Biennale. The collectors are neighbours. Since we were appointed to do something in both the Danish and in the neighbouring Nordic pavilion, we invented these fictional characters: strange identities who collect contemporary and modern art such as flies, used swim wear and Weimar porcelain, for various obscure reasons. We transformed the Danish pavilion into a spooky family home whereas the Nordic one has been turned into a swanky bachelor's pad in the style of a Los Angeles case study house. The collector in the Nordic pavilion, the Mysterious Mr. B., lived a promiscuous life and ended up with his face down in the outdoor swimming pool while the family on the other side just moved out after a divorce and some dramas worthy of an Ingmar Bergman movie.
AFH: Are your imaginary collectors people who buy for love or for investment?
E&D: We have been more interested in the psychology behind the act of collecting. The family collects art and insects because they need order and some kind of system in their miserable lives. Mister B. is collecting because he wants to promote his own sexual identity, and his passion for the arts is closely linked to his sex drive.
AFH: Were you selecting the art on view while in character or did you decide on the fictional characters of "the collectors" from the character clues in the work you selected?
E&D: The show has been developed in a process somewhere between dialogue and dictatorship, yes.
AFH: Has your view of your own work changed when you've met your collectors or seen your work in their homes?
E&D: We are the kind of artists who only meet a few of the people who purchase our works. Our galleries don't think it is safe to introduce too many of them to us since we are not so well behaved.
AFH: Are the artists in the show mostly people whose work you would want to own?
E&D: Yes—if we could afford it.
AFH: Why have you decided to create this piece for a pavilion and not a show, where the work would really be for sale?
E&D: We liked the idea of turning these public art spaces into some fictional private homes. The Giardini—the area of the Biennael—is like a little artificial village where every pavilion tries to grow the biggest pumpkin, isn't it?
AFH: When you decided to include "Mr. B.'s collection of ex-lovers' used swimwear," were you implying that collectors view acquiring artists' work almost like erotic conquests?
E&D: There are as many reasons for collecting, as there are collectors. With this show we don't intend to state the "truth" of collectors' minds or to deliver a scientific report on the topic. We simply had the desire to tell the story about two eccentric collectors.
AFH: Are the fictional collectors you've invented people who you would want to collect your art?
E&D: We like to know that there are people who buy our stuff for reasons that we could never have imagined.
AFH: Do you two collect other artists' work?
E&D: We like to support artists who do ephemeral works. It also solves the problem of storage.
翻译者：鲍静
