copenhagen

View of “Elmgreen & Dragset,” 2014. Foreground: Death of a Collector, 2009. Background: The One & the Many, 2011.

Elmgreen & Dragset

SMK | National Gallery of Denmark

View of “Elmgreen & Dragset,” 2014. Foreground: Death of a Collector, 2009. Background: The One & the Many, 2011.

Comprising three extensive scenarios that integrate a number of Michael Elmgreen and Ingar Dragset’s works with major indoor installations, “Biography,” curated by Marianne Torp, was the duo’s veritable takeover of Denmark’s national gallery. A complete four-story building violently displaced the historicist pomp of the museum’s entrance hall in a one-to-one simulation of prefabricated social housing (The One & the Many, 2011). From the ground floor and the stairs leading to the museum’s upper galleries, the structure offered views onto the “biographies” lived here, by way of empty rooms whose interiors told of the denizens in their absence, and in the form of a lone male wax figure slumped on his mattress and browsing the Gay Romeo website (Andrea Candela, Fig. 3, 2006). Progressing past the lobby into the first gallery, visitors were confronted with a deliriously clinical

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