ELMGREEN & DRAGSET
Michael Elmgreen (Denmark) & Ingar Dragset (Norway)
Live and work in Berlin, Germany
Solo exhibitions
| 2024 | TBA, Musée d’Orsay, Paris, France |
| 2023 | READ, Kunsthalle Praha, Prague, Czech Republic NGV Triennial, National Gallery of Victoria, Melbourne, Australia Perrotin Paris, France (upcoming) Bonne Chance, Centre Pompidou Metz, Metz, France Room Service, Massimo de Carlo, Milan, Italy |
| 2022 | After Dark, Jnby Museum, Hanghzhou, China Useless Bodies?, Fondazione Prada, Milan, Italy Stand By Me, Massimo de Carlo Piéce Unique, Paris, France Art in the Elevator, Salzburg Museum der Moderne, Salzburg, Austria |
| 2021 | The Nervous System, Pace, New York, USA New Tenants, Perrotin, Paris, France Van Gogh’s Ear, K11 Musea, Wuhan, China Short Story, Copenhagen Contemporary, Copenhagen, Denmark Life Rings, Princess Estelle Foundation, Royal Djurgården, Stockholm, Sweden Elmgreen & Dragset, Würth Museum 2, Künzelsau, Germany Livredderen, Taarnby, Copenhagen, Denmark Homosexuals and Lesbians in Nazi Europe, Shoah Memorial, Paris, France Statements, Palazzo Della Ragione, Bergamo, Italy Work It Out, Kunsten, Aalborg, Denmark |
| 2020 | Short Story, König Galerie, Berlin, Germany 2020, EMMA Museum of Modern Art, Espoo, Finland Elmgreen & Dragset, Pace, East Hamptons, USA |
| 2019 | Elmgreen & Dragset. Sculptures, The Nasher Sculpture Center, Dallas, USA There I Belong – Hammershøi by Elmgreen & Dragset (curated by Elmgreen & Dragset), SMK Statens Museum, Copenhagen, Denmark It’s Not What You Think, Blueproject Foundation, Barcelona, Spain Overheated, Massimo de Carlo Honk Kong, Hong Kong, China Adaptions, Kukje Gallery, Seoul, South Korea |
| 2018 | This Is How We Bite Our Tongue, Whitechapel, London, UK Elmgreen & Dragset, Perrotin Gallery, Paris, France To Whom It May Concern, FIAC Hors les Murs, Place Vendôme, Paris, France We Are Not Ourselves, Cristina Guerra Contemporary Art, Lisbon, Portugal It’s Never Too Late to Say Sorry, Aspen Museum of Art, Aspen, US |
| 2017 | Curators at 15th Istanbul Biennal, Istanbul, Turkey |
| Die Zugezogenen, Museum Haus Lange, Krefeld, Germany | |
| 2016 | Changing Subjects, FLAG Art Foundation, New York, USA |
| Van Gogh’s Ear, Public Art Fund, Rockefeller Center (supported by Public Art Fund), New York, USA | |
| Powerless Structures, Tel Aviv Museum of Art, Tel Aviv, Israel | |
| The Well Fair, Ullens Center for Contemporary Art (UCCA), Beijing, China | |
| 2015 | Aéroport Mille Plateaux, PLATEAUX Samsung Museum of Art, Seoul, South Korea |
| Past Tomorrow, Galerie Perrotin, New York, USA | |
| Stigma, Massimo De Carlo Milan, Milan, Italy and London, UK | |
| LOT, Galeria Helga de Alvear, Madrid, Spain | |
| Self-Portraits, Victoria Miro, London, UK | |
| 2014 | Biography, The National Gallery of Denmark, Copenhagen, Denmark |
| Biography, Astrup Fearnley Museum, Oslo, Norway | |
| Editions and Ephemera: 1995-2014, Studio Hugo Opdal, Flø, Norway | |
| The Old World, Galerie Perrotin, Hong Kong, China | |
| 2013 | Tomorrow, The Victoria & Albert Museum, London, UK |
| A Space Called Public, public art program for 2013, Munich, Germany | |
| The Weight of Oneself, permanent public sculpture, Lyon, France | |
| 2012 | THE CRITIC, Galleri Nicolai Wallner, Copenhagen, Denmark |
| Omnes Una Manet Nox, Louis Vuitton Flagship Store, London, UK | |
| Happy Days in the Art World, Scandinavian performances: The Royal Danish Theatre, Copenhagen, Denmark & Bergen International Festival, Bergen, Norway | |
| Harvest, Victoria Miro, London, UK | |
| Powerless Structures, Fig. 101, public sculpture at Trafalgar Square, London, UK | |
| HAN, permanent public sculpture, Helsingor, Denmark | |
| 2011 | Elmgreen & Dragset, Thorvaldens Museum, Copenhagen, Denmark |
| The One & the Many, Boijmans van Beuningen Museum, Rotterdam, The Netherlands | |
| Amigos, Galería Helga de Alvear, Madrid, Spain | |
| The Afterlife of the Mysterious Mr. B, Galerie Emmanuel Perrotin, Paris, France | |
| Happy Days in the Art World, PERforma 11, New York University Skirball Center for the Performing Arts, New York, USA, The Tramway, Glasgow, Scotland | |
| It’s Never Too Late to Say Sorry, daily performance, Sculpture International Rotterdam, Rotterdam, The Netherlands | |
| Silent wishes and broken dreams, Bayrische Staatsoper, Munich, Germany | |
| 2010 | Celebrity – The One and the Many, ZKM Museum of Contemporary Art, Karslruhe, Germany |
| 2009 | Drama Queens, Centre Georges Pompidou, Paris, France |
| Supermodels, Taka Ishii Gallery, Tokyo, Japan | |
| The Collectors, the Nordic & the Danish Pavilions, 53rd Venice Biennale 2009, Venice, Italy | |
| Trying to Remember What We Once Wanted to Forget, Museo de Arte Contemporáneo de Castilla y León, León, Spain | |
| 2008 | Home is the Place You Left, Trondheim Kunstmuseum, Trondheim, Norway |
| Too Late, Victoria Miro, London, UK | |
| Gedenkort fur die im Nazionalsozialismus verfolgten Homosexuellen, Inauguration, Berlin, Germany | |
| Drama Queens, Old Vic Theatre, London, UK | |
| Side Effects, Galerie Emmanuel Perrotin, Paris, France | |
| 2007 | This Is The First Day Of My Life, Malmö Konsthall, Malmö, Sweden |
| A Change of Mind, Giornata del Contemporaneo organizzata da AMACI, Provincia Autonoma di Bolzano, Alto Adige, Italy | |
| I am thinking of you, permanent installation, Villa Manin, Centre for Contemporary Art, Passariano, Italy | |
| 2006 | Disgrace, Galerie Emmanuel Perrotin, Miami, USA |
| The Incidental Self, Taka Ishii Gallery, Tokyo, Japan | |
| Would You Like Your Eggs A Little Different This Morning?, Galleria Massimo de Carlo, Milano, Italy | |
| The Welfare Show, The Power Plant, Toronto, Canada | |
| The Welfare Show, Serpentine Gallery, London, UK | |
| 2005 | Prada Marfa, Art Production Fund/Ballroom Marfa, Marfa, Texas, USA |
| The Brightness of Shady Lives, Galeria Helga de Alvear, Madrid, Spain | |
| The Welfare Show, Festspillutstillingen, Bergen Kunsthall, Bergen, Norway | |
| The Welfare Show, Bawag Foundation, Wien, Austria | |
| The Power Plant, Toronto, Canada (catalogue) | |
| Forgotten Baby, Wrong Gallery, New York, USA | |
| End Station, Bohen Foundation, New York, USA | |
| Linienstrasse 160, Neue Mitte, Klosterfelde, Berlin, Germany | |
| 2004 | Intervention 37, Sprengel Museum, Hannover, Germany |
| Blocking the View, Tate Modern, London, UK | |
| Moving Energies #04, Museum Folkwang, Essen, Germany | |
| 2003 | Phone Home, Tanya Bonakdar Gallery, New York, USA |
| Constructed Catastrophes, CCA, Kitakyushu, Japan | |
| Short Cut, Fondazione Trussardi, Milan, Italy | |
| Paris Diaries, Galerie Emmanuel Perrotin, Paris, France | |
| Please, Keep Quiet!, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Spaced Out, Portikus, Frankfurt am Main, Germany | |
| Don’t Leave Me This Way, Galerie Emmanuel Perrotin, Paris, France | |
| 2002 | How Are You Today, Galleria Massimo de Carlo, Milano, Italy |
| Powerless Structures, Fig. 229, CGAC, Santiago de Compostela, Spain | |
| Suspended Space, Taka Ishii Gallery, Tokyo, Japan | |
| Powerless Structures, Fig. 229, Galeria Helga de Alvear, Madrid, Spain | |
| Museum, Sala Montcada / Fondacio la Caixa, Barcelona, Spain | |
| Museu de Arte da Pampulha, Belo Horizonte, Brazil | |
| Spaced Out, Taka Ishii Gallery, Tokyo, Japan | |
| 2001 | Powerless Structures, Fig 111, Portikus, Frankfurt am Main, Germany |
| A Room Defined…, Statens Museum for Kunst, Copenhagen, Denmark | |
| Linien Str. 160, Galerie Klosterfelde, Berlin, Germany | |
| Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Opening Soon, Gallery Tanya Bonakdar, New York, USA | |
| Galleri Index, Stockholm, Sweden | |
| Taking Place, Kunsthalle Zürich, Zürich, Switzerland | |
| 2000 | Zwischen anderen Ereignissen, Galerie für zeitgenössiche Kunst, Leipzig, Germany |
| Roslyn Oxley 9 Gallery, Sydney, Australia | |
| 1999 | Galleri Nicolai Wallner, Copenhagen, Denmark. |
| Powerless Structures Fig. 57-60, The Project, New York, USA | |
| 1998 | Powerless Structures, Fig. 45, Galleri Ingólfsstræti & Reykjavik Art Museum, Reykjavik, Island |
| 1997 | To Ken Ishii…, Galleri Struts, Oslo, Norway |
| Powerless Structures, Gallery Campbells Occasionally, Copenhagen, Denmark | |
| 12 Hours of White Paint, Galleri Tommy Lund, Odense, Denmark |
Group exhibitions (selected)
| 2023 | BUTTERFLY!, ARKEN Museum for Moderne Kunst, Ishøj, Denmark Beyond a Certain Point There is No Return, A Tale of a Tub, Rotterdam, Netherlands Their Volumes, Cristella Group, Cortemaggiore, Italy Chapter Four: From the APMA Collection, Amore Pacific Museum of Art, Seoul, South Korea Looks Alive, Palazzo Bonaparte, Rome, Italy Summer Festival, Taguchi Art Collection, Kagoshima City Museum of Art, Kagoshima, Japan (upcoming) Sophie Calle. À toi de faire ma Mignonne, Musée national Picasso-Paris, Paris (upcoming) Paravents, Fondazione Prada, Milan, Italy (upcoming) |
| 2022 | Impossibles Architectures, Musees Des Beaux-Arts de Nancy, Nancy, France Heroic Bodies, Rudolph Tegners Museum, Denmark Groupshow, Schloss Bechyne, Bechyne, Czech Republic SITE: McGregor Memorial Conference Center, Detroit, USA Politics In Art, MOCAK, Krakow, Poland And Now The Good News, Pera Museum, Istanbul, Turkey HEM (HOME), Malmö Konstmuseum, Malmö, Sweden MARMOR, Kunsten, Aalborg, Denmark Every Moment Counts—AIDS and its Feelings, Henie Onstad Art Center, Høvikodden, Norway (upcoming) “Art in the Elevator”, Salzburg Museum der Moderne, Salzburg, Austria “CASH on the Wall“, Stiftung Kunstforum Berliner Volksbank, Berlin, Germnay Blue Jeans – Myth and Marketing, Museumsquarier Osnabrück, Osnabrück, Germany |
| 2021 | Statements, Palazzo della Ragione, Bergamo, Italy Work It Out, Kunsten, Aalborg, Denmark Psychopathia Sexualis, Overgaden, Copenhagen, Denmark Tempo, Museum Sinclair-Haus, Bad Heilbrunn, Germany SkultpurOdense21, Hollufgård Skultpurparken, Odense, Denmark Wild/ Schön, Kunsthalle Emden, Emden, Germany Grave Monuments, Kunsthal Aarhus, Aarhus, Denmark Monument for the Cemetery, Art Sonje Center, Seoul, Korea OASIS, Tallin Arhcitecture Museum, Tallin, Estonia Sobressalto: Coleção Norlina e José Lima, CAA, Portugal It’s Just a Phase, KUK, Trondheim, Norway |
| 2020 | Animals in Art, Arken Museum of Modern Art, Ishøj, Denmark Shapeshifters, Malmö Konstmuseum, Malmö, Sweden Oh My City, Paradise City, Incheon, Korea Mythologies. The Beginning and End of Civilization, ARoS Museum of Modern Art, Aarhus, Denmark Friendship as a Way of Life, UNSW Galleries, Paddington, Australia Who Am I, Tang Contemporary Art, Beijing, China Walls, Kunstmuseum Stuttgart, Stuttgart, Germany Fondation Emerige Collection, Paris, France Wände / Walls, Kunstmuseum Stuttgart, Stuttgart, Germany Studio Berlin, Berghain, Berlin, Germany I Put A Spell On You: On Artists Collaborations, SCAD, Savannah, USA WANTED!, Grand Palais, Paris, France Szene Berlin, Schloss Derneburg, Hall Art Foundations, Holle, Germany OH!MY CITY, Paradise Art Space, Incheon, China A Greater Perspective, The606, Damen Arts Plaza, Chicago, USA |
| 2019 | Feelings, Pinakothek der Moderne, Munich, Germany Tainted Love, Villa Arson, Nice, France A Cool Breeze, Galerie Rudolfinum, Prague, Czech Republic Art’s Biggest Stage. Collecting the Venice Biennale, 2007-2019, The Clark Art Institute, Williamstown, USA Art & Porn, ARoS Aarhus Museum of Modern Art, Aarhus, Denmark For Today I Am a Boy: Contemporary Queer Abstraction, Des Moines Art Center, Des Moines, USA Art & Porn, Kunsthal Charlottenborg, Copenhagen, Denmark Form & Volume, curated by Jens Hoffmann, Cristina Guerra, Lisbon, Portugal United Artists For Europe, Galerie Thaddaeus Ropac, London, UK Criteria, Galeria do Torreão Nascente, Lisbon, Portugal Szene Berlin Okt 19. König Galerie zu Gast bei Ketterer Kunst, Munich, Germany steirischerherbst’19. Grand Hotel Abyss, Graz, Austria The Source, Fondation Carmignac, Paris, France Political Affairs. Language is not Innocent, Hamburger Kunstverein, Hamburg, Germany Blickachsen 12, Stiftung Blickachsen, Bad Homburg, Germany Survived!, Taka Ishii Gallery, Tokyo, Japan I Will Be Dead, König Galerie, London, UK |
| 2018 | Like Life: Sculpture, Color, and the Body (1300-Now), The Met Breuer, New York, USA Bangkok Art Biennale 2018, Bangkok, Thailand Forvandlinger i gips, KØS – Museum for Kunst i Det Offentlige Rum, Køge, Denmark La Panacee, Montpellier, France Zeitspuren – The Power of Now, Kunsthaus Pasquart, Biel, Switzerland No Place Like Home, Museu Berardo, Lisbon, Portugal Ngorongoro II, Berlin, Germany Social Facades: a Dialogue between the MMK and the DekaBank, MMK, Frankfurt am Main, Germany Minimalism: Space. Light. Object, National Gallery, Singapore |
| 2017 | JUMP, Galleri Nicolai Wallner, Copenhagen, Denmark |
| A good neighboor, Pinakothek der Moderne, Munich, Germany | |
| No Place Like home, Israel Museum, Jerusalem | |
| The Beguiling Siren is Thy Crest, Museum of Modern Art in Warsaw, Poland | |
| Over the Rainbow, Praz-Delavallade, Los Angeles, USA | |
| Physical Mind Restless Hands, Galerie Micky Schubert, Berlin | |
| WARTEN. Zwischen Macht und Möglichkeit, Hamburger Kunsthalle, Hamburg, Germany | |
| Cool, calm and collected, ARoS, Aarhus, Denmark | |
| 2016 | No Man is an Island – The Satanic Verses, ARoS Aarhus Art Museum, Aarhus, Denmark |
| INSIDE OUT, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Protest, Victoria Miro Gallery, London, UK | |
| Fetich: Begærets Objekter, Holsterbro Kunstmuseum, Holstebro, Denmark | |
| Ta.bu, Maison Particulière, Brussels, Belgium | |
| Gartenschau, König Galerie, Berlin, Germany | |
| 2015 | Diamonds Always Come In Small Packages, Kunstmuseum Luzern, Luzern, Switzerland |
| Slip of the Tongue, [curated by Danh Vo], Punta Della Dogana, Venice, Italy | |
| more Konzeption Conception now, Museum Morsbroich, Leverkusen, Germany | |
| MetaModern, Krannert Art Museum, Champaign, USA | |
| No Hablaremos de Picasso, Palacio Municipal Kiosko Alfonso, La Coruna, Spain | |
| All the World’s a Stage. Works from the Goetz Collection, Fundacion Banco Santander, Madrid, Spain | |
| Infinite Experience, MALBA – Museo de Arte Latinoamericano de Buenos Aires, Argentina | |
| Days push off into nights, Spring workshop, Hong Kong, China | |
| Panorama, High Line Art, New York City, USA | |
| Poor Art – Rich Legacy. Arte Povera and parallel practices 1968–2015, The Museum of Contemporary Art Oslo, Oslo, Norway | |
| What We Call Love, IMMA, Dublin, Ireland | |
| Little Is Left To Tell (Calvino after Calvino), Blueproject Foundation, Barcelona, Spain | |
| Homosexualitat_en, Deutsches Historisches Museum, Berlin, Germany | |
| Globale Digitale, ZKM Karlsruhe, Karlsruhe, Germany | |
| Gold, Neuberger Museum of Art, Purchase, US | |
| The City is the Star – Art at the Cinstruction Site, ZKM, Zentrum Fur Kunst und Medientechnologie, Karlsruhe, Germany | |
| 2014 | Schamlos?, Sexualmoral im Wandel, Zeitgeschichtliches Forum Leipzig, Leipzig, Germany |
| Do Not Disturb, At the Invitation of Elmgreen & Dragset, Gerhardsen Gerner, Oslo, Norway | |
| Die Andere Seite – Spiegel Und Spiegelungen In Der Zeitgenossischen Kunst, MMKK – Museum Moderner Kunst Karnten, Klagenfurt, Austria | |
| Magt Minder Mennesker – Mindesmærker i dag, KOS – Museum of Art in Public Spaces, Koge, Denmark | |
| Archeological Festival_ a 2nd hand history and improbable obsessions, Tartu Kunstimuuseum, Tartu, Estonia | |
| Attention Economy, Kunsthalle Wien (Museumsquartier), Vienna, Austria | |
| Late Harvest, Nevada Museum of Art, Reno, USA | |
| Gold, Bass Museum of Art, Miami, USA | |
| The Carl Nielsen and Anne Marie Carl-Nielsen Scholarship 2014, Den Frien Centre of Contemporary Art, Copenhagen, Denmark | |
| I Multiplied Myself to Feel Myself, Kunstraum Niederosterreich, Vienna, Austria | |
| Man in the Mirror, Vanharents Art Collection, Brussels, Belgium | |
| Do it Moscow, Garage Museum of Contemporary Art, Moscow, Russia | |
| Salon distingue – Hausrat in guter Gesellschaft, Museum Langmatt, Baden, Switzerland | |
| Cote Interieur, Kunstpavillon Innsbruck, Innsbruck, Germany | |
| Collection on Display, Migros Museum fur Gegenwarstkunst, Zurich, Switzerland | |
| STATUS 24 Contemporary Documents, Fotomuseum Winterthur, Winterthur, Switzerland | |
| LOVE AIDS RIOT SEX II, Aids Art Activism from 1995 until today, nGbK, Berlin, Germany | |
| Salon distingué – Hausrat in guter Gesellschaft, Museum Langmatt Baden, Baden, Germany | |
| KIK Three Dizzyland, Kino International, Berlin, Germany | |
| Secret Passions, Lille 3000, Lille, France | |
| As I run and run, happiness comes closer, La Collection de Laurent Dumas vue par Jérôme Sans, Paris, France | |
| 2013 | Forever Young, Kunsthalle Nurnberg, Nuremberg, Germany |
| For the Time Being, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany | |
| Uno Sguardo Sul Mondo Opere Da Una Collezione Privata, Polignano a Mare, Italy | |
| Love me Gender, ARKEN, Ishoej, Denmark | |
| Oeuvres De La Collection Philippe Cohen 20 ans D’acquisitions, Passage de Retz, Paris, France | |
| Out Of The Blue, Cortesi Contemporary, Lugano, Switzerland | |
| Mom, am I barbarian?, 13th Istanbul Biennial, International Istanbul Biennial, Istanbul, Turkey | |
| Out of Fashion, Gl Holtegaard, Holte, Denmark | |
| Out of Fashion. Textile International Contemporary Art, KUNSTEN Museum of Modern Art, Aalborg, Denmark | |
| Borderline, La GAD – Galerie Arnaud Deschin, Marseille, France | |
| personal, political, mysterious, FLAG Art Foundation, New York City, US | |
| Dinard, l’Amour Atomique, Palais des Arts Dinard, Dinard, France | |
| El Arte del Presente – Collección Helge de Alvear – Mecenazgo al Servicio del Arte, CentroCentro Cibeles, Madrid, Spain | |
| What is Contemporary Art? #2, Museet for Samtidskunst / Museum of Contemporary Art, Roskilde, Denmark | |
| When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA | |
| 2012 | Hospitality, Liverpool Biennial, Liverpool, UK |
| Nude Men: from 1800 to the present day, Leopold Museum, Vienna, Austria | |
| Echigo Tsumari Triennial, Tokamachi City and Tsunan Town, Japan | |
| Fremde überall – Zeitgenössische Kunst aus der Sammlung Pomeranz, Jüdisches Museum Wien, Vienna, Austria | |
| Im Raum des Betrachters – Skulptur der Gegenwart, Pinakothek der Moderne, Munich, Germany | |
| Status – 24 Contemporary Documents, Fotomuseum Winterthur, Zurich, Switzerland | |
| Treffpunkt: Berlin, Arken Museum of Modern Art, Ishoj, Denmark | |
| Struggles, Maison Particuliere, Brussels, Belgium | |
| TRACK – A Contemporary City Conversation, S.M.A.K., The Museum of Contemporary Art, Ghent, Belgium | |
| You Are Not Alone, BACC – Bangkok Art and Culture Centre, Bangkok, Thailand | |
| Modern and Contemporary Sculpture at the Mildred Lane Kemper Art Museum, Mildred Lane Kemper Art Museum, Washington D.C., USA | |
| Common Ground, City Hall Park – New York City, New York, USA | |
| Group Show, Gallerie Emmanuel Perrotin, Paris, France | |
| Carl Nielsen and Anne Marie Carl-Nielsens grant 2012, Den Frie Centre of Contemporary Art, Copenhagen, Denmark | |
| Wonderful – Humboldt, Krokodil & polke, Die Olbricht Collection, me Collectors Room Berlin, Berlin, Germany | |
| El ojo Colectivo; en búsqueda de otra Subjetividad, Centro de Exposiciones Subte, Montevideo, Uruguay | |
| Matter of Choices, CCA Andratx, Andratx, Spain | |
| Migros Meets Museion 20th Century Remix, MUSEION – Museum fur moderne und zeitgenossische Kunst, Bolzano, Italy | |
| When Attitudes Became Form Become Attitudes, CCA Wattis Institute for Contemporary Arts, San Francisco, USA | |
| F for Freedom, Galeria Filomena Soares, Lisbon, Portugal | |
| Mind the System, Find the Gab, Z33, Hasselt, Belgium | |
| Luxe : Mode D’emploi, Passage de Retz, Paris, France | |
| Collaborations & Interventions, Nymphis Projekte Berlin, Berlin, Germany | |
| Collaborations & Interventions, CCA Andratx, Andratx, Spain | |
| fotoGRAFISK, Fotografisk Center, Copenhagen, Denmark | |
| The Poster Show, Galerie Carlier | Gebauer, Berlin, Germany | |
| 2011 | Monodrome, 3rd Athens Bienniale, Athens, Greece |
| Zwei Sammler – Thomas Olbricht und Harald Falkenberg, Halle für aktuelle Kunst, Deichtorhallen, Hamburg, Germany | |
| Among Heroes, Kunsthalle Nürnberg, Nürnberg, Germany | |
| It’s Never Too Late to Say Sorry, Coolsingel, Rotterdam, The Netherlands | |
| 12th Istanbul Bienniale, Istanbul, Turkey | |
| 4th Moscow Biennale of Contemporary Art, TSUM & Artplay, Moscow, Russia | |
| Open House, 3rd Singapore Biennale, National Museum of Singapore, Singapore Art Museum, Old Kallang Airport, Singapore | |
| The wonderful Land of Art – The Ethics and Aesthetics of the Nation, Nomos Edizioni, GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo, Bergamo, Italy | |
| 8 ½, Fondazione Nicola Trussardi, Florence, Italy | |
| Odd Size, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Wax – Sensation in Contemporary Sculpture, Kunstforeningen GL Strand, Copenhagen, Denmark | |
| Streetlife and Homestories, Villa Stuck, Munich, Germany | |
| Portraits, Gerhardsen Gerner, Berlin, Germany | |
| Private/Corporate VI, Daimler Kunst Sammlung, Berlin, Germany | |
| The Last First Decade, Ellipse Foundation, Cascais, Portugal | |
| You Are not Alone, Joan Miro Foundation, Barcelona, Spain | |
| You Are not Alone, MARCO, Vigo, Spain | |
| Produced by Migros, Kunsthalle Fridericianum, Kassel, Germany | |
| The Global Contemporary. Art Worlds After 1989, ZKM | Center for Art and Media, Karlsruhe, Germany | |
| Now: Obras De La Colección Jumex, Instituto Cultural Cabanas, Guadalajara, Mexico | |
| 2010 | Let’s Dance, Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France |
| Exhibition, Exhibition, Castello di Rivoli Museum of Contemporary Art, Rivoli, Turin, Italy | |
| Passages. Travels in Hyperspace, Laboral Centro de Arte y Creación Industrial, Gijon, Spain | |
| Margins of Silence, Helga de Alver Collection, Centro de Artes Visuales Fundación Helga de Alvear, Cáceres, Spain | |
| Seconde main, Musée d’Art Moderne de la Ville de Paris, Paris, France | |
| Shelf Life, Haifa Museum of Life, Haifa, Israel | |
| Invisible Shadows – Images of Uncertainty, MARTa Herford, Germany | |
| Fourth Plinth Comission. Six New Proposals, The Foyer, St. Martin-in-the-Fields, London, UK | |
| Ny særudstilling. Fotografier på Statens Museum for Kunst, Statens Museum for Kunst, Copenhagen, Denmark | |
| PowerGames, The Ludwig Museum – Museum of Contemporary Art, Budapest, Hungary | |
| New Décor, Hayward Gallery, London, UK | |
| Opere / Works, Festival Festival Art Contemporanea, Faenza, Italy | |
| Sexuality and Transcendence, Pinchuk Art Center, Kiev, Ukraine | |
| Contemplating the Void: Interventions in the Guggenheim Museum, Guggenheim Museum, New York, USA | |
| Artefact Festival, STUK, Kunstencentrum Leuven, Belgium | |
| Coup de Ville, WARP Contemporary Art Platform, Sint-Niklaas, Belgium | |
| Play it again, Galerie de Multiples, Paris, France | |
| Gallery, Galerie, Galleria, Norma Mangione Gallery, Turin, Italy | |
| The Philosophy of Money, Lisbon City Museum, Lisbon, Portugal | |
| Lost and Found: Queering the Archive, BildMuseet Umeå, Umeå, Sweden | |
| Glimmer, Fondatión/Colección Jumex, Mexico City, Mexico | |
| 2009 | I love Malmö, Kumu Art Museum, Talinn, Estonia |
| Where do we go from here? Selections from La Coleccion Jumex, Bass Museum of Art, Miami, USA | |
| The Making of Art, Kunsthalle Schirn, Frankfurt am Main, Germany | |
| New Aquisitions, Louisiana Museum of Modern Art, Humlebaek, Denmark | |
| The Porn Identity, Kunsthalle Wien, Vienna, Austria | |
| Scorpio’s Garden, Temporare Kunsthalle, Berlin, Germany | |
| Romantische Maschinen, Georg Kolbe Museum, Berlin, Germany | |
| Zeigen. An Audio Tour through Berlin by Karin Sander, Temporäre Kunsthalle, Berlin, Germany | |
| Anabasis. Rituals of Homecoming, Ludwik Grohman Villa, Lodz, Poland | |
| En todas as partes -políticas da diversidade sexual na arte, CGAC, Santiago de Compostela, Spain | |
| While we are waiting (for the new space), Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Lost and found: Queerying the archive, Kunsthallen Nikolaj, Copenhagen, Denmark | |
| Trying to remember what we once wanted to forget, Mueo de Arte Contemporáneo de Castilla y Leon, Leon, Spain | |
| 10th Havana Biennial, Havana, Cuba | |
| LYST, Overgaden – Institut for Samtidskunst, Copenhagen, Denmark | |
| 2008 | Reality Check, Statens Museum for Kunst, Copenhagen, Denmark |
| SCAPE, Christchurch Biennale of Art and Public Space, Christchurch, New Zealand | |
| U-Turn, Quadrennial for contemporary Art, Copenhagen, Denmark | |
| This is not a void, Galerie Luisa Strina, Sao Paulo, Brazil | |
| Drama Queens, Art on Stage, Theater Basel, Art Basel, Basel, Switzerland | |
| Time Crevasse, The 3rd Yokohama International Triennale of Contemporary Art 2008, Yokohama, Japan | |
| An Unruly History of the Readymade, Fundación/Colección Jumex, Ecatepec de Morelos, Mexico | |
| Sammlung/Collection, migros museum für gegenwartskunst, Zürich, Switzerland | |
| Peer to Peer, Casino Luxembourg, Luxembourg | |
| 15 Years Anniversary Exhibition, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| The teardrop explodes, Stadtgalerie Schwaz, Schwaz, Tirol, Austria | |
| The Sickness of the Hunting“, MAMAC, Nice, France | |
| Ad Absurdium/Energien des Absurden- von der Klassischen Moderne zur Gegenwart, MARTa Herford, Herford, Germany | |
| Walls in the Street, Muzej savremene unmetnosti, Beograd, Serbia | |
| Other Than Yourself – An Investigation between Inner and Outer Space, T-B A21- Thyssen-Bornemisza Art Contemporary, Vienna, Austria | |
| Thyssen-Bornemisza, Art Contemporary – Sammlung als Aleph, Kunsthaus Graz, Graz, Austria | |
| La marge d’erreur, Centre d’art contemporain la Synagogue de Delme, Delme, France | |
| S.T.O.R.A.G.E: Ludovica Gioscia, The Agency Gallery, London, UK | |
| Schöner Bauen- Besser Schauen, Arcjitektur- und Denkbilder, Museum Liner, Appenzell, Switzerland | |
| All Inclusive, Schirn Kunsthalle, Frankfurt am Main, Germany | |
| 2007 | Skulptur Projekte Münster 07, Münster, Germany |
| Mapping the Self, Museum of Contemporary Art, Chicago, USA | |
| For Sale, Christina Guerra Contemporary Art, Lisboa, Portugal | |
| Double Vision, Deutsche Bank Gallery, New York, USA | |
| Cuestión Xeracional, CGAC, Santiago de Compostela, Spain | |
| When We Build Let Us Think We Build the Future, BALTIC Centre For Contemporary Art, Gateshead Quays, Gateshead, UK | |
| Gjensyn & Fremtiden, Vigeland Museum, Oslo, Norway | |
| Pensa/Piensa/Think, Centre d’art Santa Monica, Barcelona, Spain | |
| Bodypoliticx, Witte de With, Rotterdam, The Netherlands | |
| La cittá che sale, ARCOS, Sannio Contemporary Art Museum, Benevento, Italy | |
| Silly Adults, Galeri Nicolai Wallner, Copenhagen, Denmark | |
| Rockers Island, Olbricht Collection, Museum Folkwang, Essen, Germany | |
| The Price of Everything, Whitney Museum of American Art/Independent Study Program Exhibition, New York, USA | |
| 2. Moscow biennale of contemporary art, Moscow, Russia | |
| Mapas, cosmogonias e pumtos e referencia, CGAC, Santiago de Compostela, Spain | |
| Into Me/Out of Me, Kunst-Werke, Berlin, Germany/ MACRO Museo d’Arte Contemporanea, Roma, Italy | |
| Cross-Border. Fotografie und Videokunst aus dem MUMOK Wien, Kunstmuseum Stuttgart, Germany | |
| Un Fair/trade- Die Kunst der Gerchtigkeit, Neue Galerie Graz am Landesmuseeum Joanneum, Graz, Austria | |
| Made In Germany, Sprengel Museum Hannover/Kunstverein Hannover/kestnergesellschaft Hannover, Germany | |
| Absent Without Leave, Victoria Miro Gallery, London, UK | |
| I’m Thinking of You, Anyang public Art Project (APAP), South Korea | |
| This Is Not For You, T-B A21, Thyssen-Bornemisza Art Contemporary, Vienna, Austria | |
| 2006 | This is not for you: Sculptural Discourses, Thyssen-Bornemisza Art Contemporary, Vienna, Austria |
| All Our Tomorrows, Kunstraum der Universität Lüneburg, Lüneburg, Germany | |
| Faster! Bigger! Better!, ZKM, Karlsruhe, Germany | |
| Protections, Kunsthaus Graz, Graz, Austria | |
| Fever Variations, Gwangju Biennale 2006, Seoul, South Korea | |
| When the Moon Shines on the Moonshine, The Breeder, Athens, Greece | |
| Into Me/ Out of Me, P.S.1, New York, USA | |
| Anstoss Berlin- Kunst macht Welt, Haus am Waldsee, Berlin, Germany | |
| Why Pictures Now, MUMOK, Vienna, Austria | |
| Culture Bound/East Wing Collection VII, Courtauld Institute of Art, London, UK | |
| Kontacom 06, Contemporary Festival, Salzburg, Austria | |
| Wrong, Klosterfelde, Berlin, Germany | |
| Broken Surface, Sabine Knust Galerie Maximilian Verlag, Munich, Germany | |
| Exportable Goods, Krinzinger Projekte, Vienna, Austria | |
| Group Therapy, Museion, Bolzano, Italy | |
| Surprise, Surprise, ICA, London, UK | |
| My Blue Genes, Vigerslevvej 44, 1.tv., Valby, Copenhagen, Denmark | |
| 2005 | Kiss the Frog. The Art of Transformation, Nasjonalmuseet for Kunst, Oslo, Norway |
| Universal Experience, Museum of Contemporary Art, Chicago, USA | |
| Monuments for the USA, CCA Wattis Institute for Contemporary Arts, San Francisco, USA | |
| Istanbul Pedestrian Exhibitions 2: Tünel – Karakoy, Istanbul, Turkey | |
| Lichtkunst aus Kunstlicht, ZKM, Karlsruhe, Germany | |
| En / Of 001-030, Museum Kurhaus Kleve, Kleve, Germany | |
| Baby Shower, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| 2004 | Modus Operandi, Thyssen-Bornemisza Art Contemporary, Vienna, Austria |
| Artists’ Favourites, Institute for Contemporary Art, London, UK | |
| Lofoten International Art Festival, Lofoten, Norway | |
| A arañeira. A colección. Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain | |
| Die Zehn Gebote, Deutsches Hygiene-Museum, Dresden, Germany | |
| Sammlung Plum, Museum Kurhaus Kleve, Germany | |
| Works and Days, Louisiana Museum for Moderne Kunst, Humlebaek, Denmark | |
| 10 Year Anniversary Exhibition, Taka Ishii Gallery, Tokyo, Japan | |
| Reordering Reality, Columbus Museum of Art, Columbus, Ohio, USA | |
| Revolving Doors, Fundación Telefonica, Madrid, Spain | |
| Interventionen 36 und 37: Monica Bonvicini: Elmgreen & Dragset, Sprengel Museum, Hannover, Germany | |
| 2003 | Living Inside the Grid, The New Museum, New York, USA |
| Happiness, Mori Art Museum, Tokyo, Japan | |
| The Living Museum, Museum für Moderne Kunst, Frankfurt am Main, Germany | |
| Utopia Station, 50th Biennale di Venezia, Venice, Italy | |
| Skulptur Biennale Münsterland, Münster, Germany | |
| nation, Frankfurter Kunstverein, Frankfurt am Main, Germany | |
| Out.Look, Kunstverein Springhornhof, Neuenkirchen, Germany | |
| Spectacular, Museum Kunstpalast, Düsseldorf, Germany | |
| 2002 | 25th Bienal de Sao Paolo, Sao Paulo, Brazil |
| Shopping, Schirn Kunsthalle, Frankfurt am Main, Germany | |
| Critcal & Radical, Olivetti Fondazione, Rome, Italy | |
| Preis der Nationalgalerie, Hamburger Bahnhof, Berlin, Germany | |
| Beyond Paradise, Museum of Contemporary Art, Bangkok, Thailand | |
| Bienal de Arte Pontevedra, Pontevedra, Spain | |
| Palais de Tokyo, Paris, France | |
| Living Inside The Grid, The New Museum of Contemporary Art, New York, USA | |
| Pause, 4th Kwangju Biennial, Kwangju, South Korea | |
| No Return, Abteiberg Museum, Mönchengladbach, Germany | |
| 4pokoje / 4rooms, The Bunkier Sztuki Contemporary Art Gallery, Krakow, Poland | |
| Sudden Glory: Slapstick in Contemporary Art, CCAC, San Francisco, USA | |
| Rent-a-bench, Los Angeles, USA | |
| 2001 | Inside Space, MIT List Centre, Boston, USA |
| TV Tokyo, Palais de Tokyo, Paris, France | |
| Egofugal, 7th International Istanbul Biennal, Istanbul, Turkey | |
| Strategies Against Architecture II, Fondazione per l’arte, Pisa, Italy | |
| The End of All things, Galleria Massimo de Carlo, Milano, Italy | |
| Sets: Performing Surfaces, International Artists’ Studio Program in Sweden in Venice 2001, 49th Venice Biennial, Venice, Italy | |
| Hortus Conclusus, Witte de With, Rotterdam, The Netherlands | |
| Group Show, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Hortus Conclusus, Witte de With, Rotterdam, The Netherlands | |
| Schauspiel Haus, Hamburg, Germany | |
| Neue Welt, Frankfurter Kunstverein, Frankfurt am Main, Germany | |
| AUDIT, Casino Luxemburg, Luxemburg | |
| 2000 | Manifesta III, Ljubljana, Slovenia |
| Borderline Syndrome, Manifesta 3, Ljubljana, Slovenia | |
| 5 shows, 5 curators, Staff USA/AC Project Room, New York, USA | |
| Waiting, Mjellby Art Centre, Halmstad, Sweden | |
| Sightings, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, USA | |
| Use your illusion, part 3, Arnolfini, Bristol, UK | |
| Sporting. Life, MCA, Sydney, Australia | |
| Leaving the Island, Pusan Art Festival, Pusan, South Korea | |
| Century of Innocence, Rooseum, Malmö, Sweden (catalogue) | |
| The works shown in this space…, neugerriemscneider, Berlin, Germany | |
| AC Project Room/Staff USA, New York, USA (curated by Connie Butler, MOCA) | |
| IASPIS Galleriet, Stockholm, Sweden (curated by Daniel Birnbaum) | |
| What if…, Moderna Museet, Stockholm, Sweden (curated by Maria Lind) | |
| Center for Curatorial Studies, Bard College, New York, USA (curated by Jeffrey Walkowiak) | |
| Echigo-Tsumarigo Triennial, Japan (curated by Nancy Spector) | |
| 1999 | Signs of life, Melbourne Biennial, Melbourne, Australia |
| Opening, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Pavement, Martinez Gallery, New York, USA | |
| Parking, Public Art Work, High Bridge Park, New York, USA | |
| Extinction des feux, Art and Public, Geneve, Switzerland | |
| Le Grand Praemiere Opening Show, Galleri Nicolai Wallner, Copenhagen, Denmark | |
| Search for the Spirit, NGBK, Berlin, Germany | |
| 1998 | Berlin/Berlin, Berlin Biennale, Germany |
| Nordic Nomads, White Columns, New York, USA | |
| Zone Franche, Grand Halle de Villette, Paris, France | |
| Warming, The project, New York, USA | |
| Cool Places, Contemporary Art Centre, Vilnius, Lithuania | |
| Wrapped, Vestsjaellands Kunstmuseum, Sorø, Denmark | |
| Junge Szene, Secession, Vienna, Austria | |
| High Infidelity, Kunstraum der Universität Lüneburg, Lüneburg, Germany | |
| Bicycle Thieves, Gallery 400, Chicago, USA | |
| Pakkhus, Momentum, Moss, Norway | |
| Nuit Blanche, Musée d’Art Moderne de la Ville de Paris, Paris, France | |
| Underground, Galleri Asbæk, Copenhagen, Denmark | |
| 1997 | Full House, Galerie Schipper & Krome, Berlin, Germany |
| The Louisiana Exhibition, Louisiana Museum of Modern Art, Humlebaek, Denmark | |
| 6. Muestra de Performance Internacional, Mexico City, Mexico | |
| The April Sessions, ICA, London, UK | |
| 1996 | The Scream, Borealis 8, Arken, Museum of Modern Art, Ishøj, Denmark |
| Between You & Me, Overgaden, Copenhagen, Denmark | |
| Update, Copenhagen, Denmark | |
| Meningsdannelse 2, Nikolaj Contemporary Art Center, Copenhagen, Denmark | |
| Gallery Campbells Occasionally, Copenhagen, Denmark | |
| 1995 | Art Against AIDS, Gallery Nicolai Wallner and Michael Andersen, Copenhagen, Denmark |
| Fan Också (Damn), Forumgalleriet, Malmø, Sweden |
Books (selected)
| 2019 | Elmgreen & Dragset Phaidon Contemporary Artists Series, Phaidon, London, UK Elmgreen & Dragset: Sculptures, Nasher Sculpture Center, Dallas and Hatie Cantz, Ostfildern It’s Not What You Think, Blueproject Foundation, Barcelona, Spain Elmgreen & Dragset: Adaptions, Kukie Gallery, Seoul, South Korea |
| 2018 | This Is How We Bite Our Tongue, Whitechapel Gallery, London, UK |
| 2017 | The Others, König Galerie, Berlin and Koenig Books, London, UK Die Zugezogenen, Koenig Books, London, UK İstanbul Bienali: iyi bir komşu: Sergi 15th Istanbul Biennial: a good neighbour: Exhibition, Istanbul Foundation for Culture and the Arts, Istanbul, Turkey İstanbul Bienali: iyi bir komşu: Hikayeler 15th Istanbul Biennial: a good neighbour: Stories, Istanbul Foundation for Culture and the Arts, Istanbul, Turkey |
| 2016 | The Well Fair, UCCA – Ullens Center for Contemporary Art, Beijing, China |
| 2015 | Aéroport Mille Plateaux, PLATEAU – Samsung Art Museum, Seoul, South Korea |
| Self-Portraits, Victoria Miro, London, UK | |
| Past Tomorrow, Galerie Perrotin, New York, USA | |
| 2014 | Biography, SMK – National Gallery of Denmark, Hatje Cantz Verlag, Ostfildern, Germany |
| Biography, Astrup Fearnley Museet, Archive Books, Oslo, Norway | |
| 2013 | Tomorrow: Scenes from an unrealised film, Victoria and Albert Museum, London, UK |
| A Space Called Public, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| 2012 | nude men: from 1800 to the present day, Tobias G. Natter & Elisabeth Leopold (eds.), Leopold Museum, Hirmer Verlag GmbH, Münich, Germany |
| Die Sammlung in Aktion. Mediale Werke von Vito Acconci bis Simon Starling, MUSEION Museum of Modern and Contemporary Art, Bolzano, Italy, pp. 62-69. | |
| Gold, Agnes Husslein-Arco & Thomas Zaunschirm, Belvedere Wien, Hirmer Verlag GmbH, Münich, p. 12 | |
| Mind the System, Find the Gap, Z33 – House for Contemporary Art, Hasselt, Belgium, p. 30 | |
| Museion 12, MUSEION Museum of Modern and Contemporary Art, Bolzano, Italy, pp. 12-13 | |
| Museum Boijmans Van Beuningen – Jaaresverslag 2011, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands, pp. 22-23, 72, 76-77 | |
| Status – 24 Contemporary Documents, Daniela Janser & Thomas Seelig, Fotomuseum Winterthur, Zürich, Switzerland, pp. 4-5 | |
| TRACK – A Contemporary City Conversation, S.M.A.K, the Museum of Contemporary Art in Ghent, Roma Publications, Amsterdam, The Netherlands, pp. 76-79 | |
| Treffpunkt Berlin, ARKEN Museum for Contemporary Art, Ishøj, Denmark, p. 57 | |
| 2011 | Trilogy, Verlag der Buchhandlung Walther König, Cologne, Germany |
| Performances 1995–2011, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| 4 Moscow Biennale of Contemporary Art – Rewriting Worlds, Ministry of Culture of the Russian Federation Moscow Government; ROSIZO State Museum and Exhibition Center Moscow Biennale Art Foundation, Moscow, Russia, pp. 70-71 | |
| Actors, Agents and Attendants – Caring Culture: Art, Architecture and the Politics of Public Health, Markus Miessen & Andrea Phillips (eds.), Sternberg Press and SKOR / Foundation for Art and Public Domain, Berlin, Germany, p. 91 | |
| Art & Agenda – Political Art and Activism, Gestalten Verlag, Berlin, Germany, pp. 46-49 | |
| Beklenmedik Karsilasmalar (Unexpected Encounters), Fatos Üstek, Zorlu Center, Istanbul, Turkey, pp. 74-77 | |
| Car Culture: Medien der Mobilität, Peter Weibel, ZKM Zentrum für Kunst und Medien, Karlsruhe, Germany, pp. 54-57 | |
| Collection Vanmoerkerke, Mark Vanmoerkerke, Rispoli Books, Brussels, Belgium, pp. 60-63 | |
| Destello, Yishai Jusidman, Magali Lara & Osvaldo Sánchez, Fundación/Colección Jumex, Ecatepec, Estado de México | |
| Ecce Logo – Les Marques anges et Démons du XXIe siècle, Gilles Delérs & Denis Gancel, L’Atelier d’édition – LOCO/W&Cie, Paris, France, pp. 308-309 | |
| Elmgreen & Dragset: Thorvaldsen Series, Thorvaldsen Museum, Copenhagen, Denmark | |
| Froehlich Foundation, Stiftung Froehlich, Stuttgart, Germany, p. 38 | |
| Hard to Sell Good to Have: Volume 3, Statements, Alexandra Grausam, Barbara Horvath & Elsy Lahner (eds.), Verlag für Moderne Kunst, Nürnberg, Germany, p. 29 | |
| Historias de la vida material. Personas, Lugares, Cosas, Acontecimientos, Ficciones, Centro de Artes Visuales – Fundación Helga de Alvear, Càceres, Spain, pp. 182-185 | |
| Il Belpaese dell’arte, etiche ed estetiche della Nazione / The wonderful Land of Art – The Ethics and Aesthetics of the Nation, Giacinto di Pietrantonio & Maria Cristina Rodeschini, Nomos Edizioni / GAMeC, Bergamo, Italy, p. 122 | |
| Now: Obras de La Colección Jumex, Fundación/Collección Jumex, pp. 73-74 | |
| Ny norsk kunst etter 1990, Øystein Ustved, Fagbokforlaget, Vigmostad & Bjørke AS, Bergen, Norway, pp. 87, 126-127, 130-133, 141, 47, 158 | |
| Private/Corporate VI – The Juan & Patricia Vergez Collection, Buenos Aires, in dialogue with the Daimler Art Collection, Stuttgart/Berlin, Renate Wiehager, Daimler Contemporary, Berlin, Germany, pp. 28-29 | |
| Silent wishes and broken dreams, Bayrische Staatsoper München in collaboration with Sammlung Goetz and Museum Villa Stuck, Germany | |
| Singapore Biennale 2011 Open House, Singapore Art Museum, Singapore, p. 228 | |
| “Chapter 6: Welfare Melancholia”, in Social Works, Performing Arts, Supporting Publics, Shannon Jackson, Routledge, UK, pp. 182-209 | |
| Streetlife and Homestories, Museum Villa Stuck, Munich, Hatje Cantz Verlag, Ostfildern, pp. 78-85 | |
| The Global Contemporary – Art Worlds after 1989, ZKM Center for Art and Media, Karlsruhe, Germany, p. 56 | |
| Unter Helden – Vor-bilder in der Gegenwartskunst, Kunsthalle Nürnberg im KunstKulturQuatier, Kerber Verlag, Bielefeld, Germany, pp. 30, 35, 36-37 | |
| Untitled (12th Istanbul Biennial), 2011, Istanbul Foundation for Culture and Arts, Turkey, p. 173 | |
| WAX – Sensation in Contemporary Culture, Kunstforeningen GL STRAND, Copenhagen, Denmark, pp. 34-35 | |
| Weisen der Welterzeugung im Nordisch-Dänischen Pavillon der 53. Biennale von Venedig, Sarah Haugeneder, Ludwig-Maximilians-Universität, Department für Kunstwissenschaft – Institut für Kunstgeschichte | |
| You are not alone, ArtAidsFoundation, Fundación Miró, Fundación MARCO, pp. 135-141 | |
| Zwei Sammler, Deichtorhallen Hamburg und Snoeck Verlagsgesellschaft mbH, Cologne, Germany, p. 50 | |
| 2010 | Coup de Ville, Uitgeverij Lannoo, nv Tielt, Belgium, pp. 147-149 |
| Design Total, Inflation moderner Gestaltung, Mateo Kries, Berlin, Germany | |
| Det’ vores kunst, Public Art Projects & Danish Arts Foundation, Denmark, pp. 58-59 | |
| El Arte más allá de la estética-Ensayos filosóficos sobre arte contemporáneo, Peter Osborne, pp. 369-389 | |
| Exhibition, Exhibition, Castello di Rivoli, Museo d’Arte Contemporanea, Italy, p. 56 | |
| Let’s dance, Musée d’art contemporain du Val-de-Marne, France, pp. 94-95 | |
| Márgenes de silence / margins of silence, Colección Helga de Alvear, Spain, pp. 102-103 | |
| Office for Contemporary Art Norway – Annual Report 2009, OCA, Oslo, Norway, pp. 62-73 | |
| Passages – Travels in Hyperspace, Works from the Collection of Thyssen-Bornemisza Art Contemporary, Centro de Arte y Creación Industrial Gijon, Spian, pp. 52-53 (2 parts) | |
| Powergames, Ludwig Museum, Cologne, Germany, pp. 10-11 | |
| Schöner Bauen – Besser Schauen, Roland Scotti, Stiftung Liner Appenzell, Switzerland, pp. 80-84 | |
| Staging Space – Scenic Interiors and Spatial Experiences, Robert Klanten & Lukas Feireiss, Gestalten Verlag, Berlin, Germany, pp. 184-185, 120-121 | |
| The Biennal Reader (Conference Booklet and Anthology), E. Filipovic, M. van Hal, S. Ovstebo, Norway, pp. 48-49 | |
| The New Décor, Hayward Publishing, London, UK, p.22, 70-73 | |
| Unsichtbare Schatten. Bilder der Verunsicherung, Marta Herford, pp. 86-89 | |
| What Good is the Moon, The Exhibitions of the Tussardi Foundation, Hatje Cantz Verlag, Ostfildern, Germany, pp. 168-179 | |
| 2009 | Bagalogue, 53rd Venice Biennale, Danish Arts Council, Denmark, Office for Contemporary Art Norway, Norway, FRAME Finnish Fund for Art Exchange, Finland, Moderna Museet, Stockholm, Sweden |
| Art and the Subway, Tracey Fritzpatrick, Rutgers University Press, p. 148. | |
| Aus Künstlersicht, Kerber Art | |
| Contemporary Art Book, Goodman | |
| Deconstructing Installation Art, Deconstruyendo las instalaciones, Brumaria A.C, Spain | |
| Discursive Variants: MUSAC Collection III, 2009, pp. 80-83. | |
| “Perfekte Sammenbrudd”, Mathias Danbolt in Drömbyggen, Annelie Kurttila (ed.), Arkitekturmuseet, Stockholm, Sweden, pp. 70-74. | |
| En todas as partes – políticas da diversidade sexual na arte, Xunta de Galicia, Spain | |
| Forty are better than one., Edition Schellmann, Hatje Cantz Verlag, Ostfildern, Germany | |
| Lost and Found: Queerying the Archive, Mathias Danbolt, Jane Rowley and Louise Wolthers (eds.), Kunsthallen Nikolaj, Copenhagen, Denmark, pp. 120-125 | |
| Of Bridges and Borders, Sigismond de Vajay, JPR/Ringier, pp. 275-286 | |
| Politics, Identity and Public Space – Critical Reflections in and through the Practices of Contemporary Art, Mike Hannula, pp. 168-181 | |
| Romantische Maschinen, Wienand Verlag, Cologne, Germany | |
| Scorpio’s Garden, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| SpaceCraft 2, Die Gestalten Verlag | |
| The Global Art World, Audiences, Markets, and Museums, Hatje Cantz Verlag, Ostfildern, Germany | |
| The Making of Art, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| The Porn Identity, Verlag für moderne Kunst, Nürnberg, Germany | |
| Thyssen-Bornemisza Art Contemporary, The Collection Book, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| Unique Window Display Handbook, editor and texts Marta Serrats, Singapore: Page One | |
| Vild med dansk 9, Eds. Signe Ravn and Gitte Skov Andersen, Gyldendal, Copenhagen, Denmark, pp. 9-10 | |
| Where do we go from here? Selections from La Colección Jumex, Bass Museum of Art / Contemporary Arts Center / Fundación/Colección Jumex, p. 122 | |
| Zeigen. Eine audiotour durch Berlin von Karin Sander, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| 2008 | Ad Absurdum – Energien des Absurden von der Klassischen Moderne zur Gegenwart, MARTa Herford / Städtische Galerie Nordhorn, Kerber Verlag, Bielefeld/Leipzig, Germany, pp. 245-247 |
| An Unruly History of the Readymade, Fundación/Colección Jumex, Ecatepec de Morelos, Mexico | |
| Art Now: Vol. 3, Ed. Hans Werner Holzwarth, Taschen, Cologne, Germany, pp. 10-11, 152-155 | |
| Elmgreen & Dragset: This is the first day of my life, Hatje Cantz Verlag, Ostfildern, Germany | |
| Elmgreen & Dragset: Home is the Place You Left, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| Art Review, special edition booklet, October 2008 issue of Art Review | |
| For Sale, Cristina Guerra Contemporary Art | |
| Lèche-Vitrine / Distribution & Merchandising Visuel Dans La Mode, Edition Du Regard | |
| The Sickness of the Hunting, MAMAC Nice – Musée d’art moderne et d’art contemporain de Nice, Cudemo Editore, Nice, France, pp. 26-27 | |
| This Is Not a Void, Galeria Luisa Strina, São Paulo, Brazil, pp. 26-27 | |
| U-Turn Quadrennial for Contemporary Art / Catalogue, Ed. Pernille Albrethsen, U-Turn Quadrennial for Contemporary Art, Copenhagen, Denmark, cover, pp. 66-67 | |
| Walls in the Street, Eds. Branka Andelkovic, Marko Lulic, and Thomas Trummer, Museum of Contemporary Art, Belgrade, Revolver Publishing, Berlin, Germany, p. 201 | |
| Wandering Lines, Towards a New Culture of Space, The Art and Biennial Trust, Christchurch, New Zealand | |
| Wanderlust: Excursions in Contemporary Sculpture, Eds. Chris Driessen and Heidi van Mierlo, Fundament Foundation, Tilburg, The Netherlands, pp. 90-91 | |
| Yokohama Triennale 2008: Time Crevasse, Yokohama International Triennale of Contemporary Art, Japan (and guidebook) | |
| 2007 | 2 Moscow Biennale of Contemporary Art: Footnotes on Geopolitics, Market, and Amnesia |
| Prada Marfa, Verlag der Buchhandlung Walther König, Cologne, Germany | |
| Drama Queens, in collaboration with Skulptur Projekte Münster 07, Münster, Germany | |
| 13 År med Allis, Eds. Allis Helleland and Jakob Fibiger Andreasen, Statens Museum for Kunst, Copenhagen, Denmark, p. 145 | |
| Anyang Public Art Project, APAP | |
| Architecture Now!, Taschen, Cologne, Germany | |
| Cuestión Xeracional, CGAC, Santiago de Compostela, Spain | |
| Double Act – Künstler Paare, Mark Gisbourne, Prestel Verlag, Germany | |
| Into me/Out of Me, Hatje Cantz Verlag, Ostfildern, Germany | |
| Kelvin – colour today, Die Gestalten Verlag, Germany | |
| Kunst/Art, Lufthansa Aviation Center, Frankfurt, Germany | |
| L’art contemporain et la mode, Jill Gasparina, Éditions Cercle d’Art, Paris, France, pp. 50-52 | |
| La cittá che sale, ARCOS, Sannio Contemporary Art Museum, Benevento, Italy | |
| Made In Germany, Sprengel Museum, Hannover, Hatje Cantz Verlag, Ostfildern, Germany (and „Short Guide“) | |
| Mapas, cosmogonías e pumtos e referencia, CGAC, Santiago de Compostela, Spain | |
| Monuments: America’s History in Art and Memory, Judith Dupré, Random House, New York, USA, p. xv | |
| Present, Percentage for Art in the Netherlands, Episode Publishers, Rotterdam, The Netherlands | |
| Rockers Island, Olbricht Collection, Museum Folkwang, Essen, Germany | |
| Skulptur Projekte Münster 07, Münster, Germany | |
| SpaceCraft, Die Gestalten Verlag, Germany | |
| The Price of Everything… Perspectives on the Art Market, Whitney Museum of American Art / Independent Study Program Exhibition, USA | |
| Viewing Room, Vol. 2, Daiwa Radiator Factory, Japan | |
| Wege zur Erinnerung, Stefanie Endlich, Landeszentrale für politische Bildungsarbeit, Gedenkort für die im Nationalsozialismus verfolgten Homosexuellen, Germany, pp. 206-208 | |
| 2006 | Anstoss Berlin – Kunst Macht Welt, Haus am Waldsee, Berlin, Germany, pp. 16-17 |
| Art of Welfare, Office for Contemporary Art Norway, Norway | |
| Desenhos [drawings]: A-Z, Collection Madeira Corporate Services | |
| Faster! Bigger! Better!, ZKM, Karlsruhe, Verlag Walther König, Cologne, Germany | |
| Fever Variations, I, Gwangju Biennale, South Korea, (2 parts) | |
| Kontracom 06. Contemporary.Festival.Salzburg, Salzburg, Austria | |
| Not A Drop But The Fall, Künstlerhaus Bremen, Germany | |
| Nybrud – dansk kunst i 90’erne, Rune Gade & Camilla Jalving, Aschehoug, Copenhagen, Denmark | |
| Overblik – 63 danske samtidskunstnere, Michael Jeppesen, Politikens Forlag, Copenhagen, Denmark | |
| Under Construction, European Kunsthalle, Verlag Walther König, Cologne, Germany | |
| Why Pictures Now, Eds. Achim Hochdörfer and Matthias Michalka, MUMOK – Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria, pp. 68-69 | |
| Yoko Ono: Horizontal Memories, Ed. Grete Årbu, Astrup Fearnley Museum of Modern Art, Oslo, p. 121 | |
| 2005 | Art Now, Vol. 2, „Elmgreen & Dragset“, Taschen, Cologne, pp. 144-147 |
| Art works. Perform, Ed. Jens Hoffmann and Joan Jonas, Thames and Hudson, London, pp. 36-37 | |
| Dialog – Kunst Og Sted Gir Mening: 11 Prosjekter, Elisabeth Tetens Jahn, Utsmykkingsfondet for offentlige bygg, pp. 32-38 | |
| EN/OF 001-030, Ed. Robert Meijer, Museum Kurhaus Kleve, Kleve, Ewald Mataré Collection, No 013 | |
| Kiss the Frog. The Art of Transformation, Ed. Kari J. Brandtzaeg, Oslo National Museum, Norway, p. 104-107 | |
| Monuments for the USA, Ed. Ralph Rugoff, CCA Wattis Institute, San Francisco, USA, pp. 60-63 | |
| Most Wanted: The Olbricht Collection, Eds. Axel Heil and Wolfgang Schoppmann, Verlag der Buchhandlung Walther König, Cologne, Germany, pp. 44, 53, 89 | |
| Munitionsfabrik 16, Staatliche Hochschule für Gestaltung Karlsruhe, Karlsruhe, p. 13 | |
| Norsk Kunstårbok / Norwegian Art Yearbook: 2005, Line Ulekleiv (ed.), KIK Kunstnernes Informasjonskontor, Oslo, Norway, pp. 79-84 Not A Drop But The Fall, Künstlerhaus Bremen, Revolver |
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| Outlook, Ed. Bettina v. Dziembowski, Kunstverein & Stiftung Springhornhof, Neuenkirchen and Revolver, Frankfurt am Main, Germany, pp. 42-47 | |
| The Welfare Show, Verlag Walther König, Cologne, Germany | |
| Universal Experience. Art, Life, and the Tourist’s Eye, Francesco Bonami (ed.), Museum of Contemporary Art, Chicago, USA, pp. 146-147 | |
| 2004 | “Coupling. Gender Identity in Michael Elmgreen and Ingar Dragset’s Art”, Jenny Lund in: ARKEN Bulletin 2004, Christian Gether (ed.), ARKEN Museum of Modern Art, Ishøj, Denmark, pp. 64-72 |
| Die Zehn Gebote, Klaus Biesenbach (ed.), Deutsches Hygiene-Museum, Dresden, Germany | |
| Files, Octavio Zaya, MUSAC – Museo de Arte Contemporáneo de Castilla y León, León, Spain, p. 37 | |
| Lofoten International Art Festival, Tor Inge Kveum and Annika Wiström (eds.), Lofoten International Art Festival, Norway, pp. 20-21 | |
| Norsk Kunstårbok / Norwegian Art Yearbook: 2004, Ketil Nergaard, Marit Paasche & Arve Rød (eds.), KIK Kunstnernes Informasjonskontor, Oslo, Norway, pp. 82-84 | |
| Sammlung Plum, Museum Kurhaus, Kleve, Germany | |
| ”Baby If You Give It to Me–I’ll Give It to You (I Know What You Want)”, Michael Elmgreen and Ingar Dragset, The Next Documenta Should be Curated by an Artist, Jens Hoffmann (ed.), Revolver Archiv für aktuelle Kunst, Frankfurt, Germany, pp. 32-33 | |
| Turbulenz. Portikus Projekte 2001-2004, Jochen Volz (ed.), Portikus Frankfurt am Main, Germany | |
| Utsmykkingsfondet for offentlige bygg 2004, Elisabeth Tetens Jahn & Anneli Torgersen (eds.), Utsmykkingsfondet for offentlige bygg, Oslo, Norway, cover, p. 13 | |
| Werke aus der Sammlung Boros, Museum für Neue Kunst | ZKM Karlsruhe, Hatje Kantz Verlag, Ostfildern-Ruit, Germany, pp. 94-97 | |
| 2003 | Cream 3. Contemporary Art in Culture, London/New York, pp. 128-131 |
| Dreams and Conflicts. The Dictatorship of the Viewer, Francesco Bonami and Maria Luisa Frisa (eds.), 50th International Biennale di Venezia, Venice, Italy | |
| Happiness. A Survival Guide for Art + Life, David Elliott and Pier Luigi Tazzi (eds.), Mori Art Museum, Tokyo, Japan, (and Exhibition Guide) | |
| Homo, Lars Erik Frank and Minna Grooss (eds.), Politikens Forlag A/S, Copenhagen, Denmark, p. 19 | |
| Installation Art in the New Millenium, Nicolas de Oliveira, London, UK, p. 97 | |
| Living Inside the Grid, Dan Cameron (ed.), New Museum of Contemporary Art, New York, USA | |
| Rent-a-bench, Pork Salad Press, Copenhagen, Denmark, | |
| Skulptur Biennale Münsterland 2003, Dorothea von Hantelmann, Freiburg, Germany, pp. 66-69, 132-137 | |
| Spaced Out. Elmgreen & Dragset, Daniel Birnbaum and Jochen Voltz Portikus (eds.), Frankfurt am Main, Germany Constructed Catastrophes, fig. 2, CCA, Kitakyushu |
|
| 2002 | 4pokoje / 4rooms, Ed. Jaros3aw Suchan, The Bunkier Sztuki Contemporary Art Gallery, Krakow, Poland |
| An Untitled Text on Some Aspects of the Work of Michael Elmgreen and Ingar Dragset, Jens Hoffmann, pp. 33-47 | |
| 25a Bienal de São Paulo: Iconografias Metropolitanas, Países, Alfons Hug (ed.), Fundação Bienal de São Paulo, Brazil, pp. 108-111 | |
| ”Michael Elmgreen & Ingar Dragset”, Agustín Pérez Rubio in: A revista do CGAC / La revista del CGAC 4, Miguel Fernández-Cid (ed.), CGAC – Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain, pp. 8-21 | |
| Art Now, Eds. B.Riemschneider and U.Grosenick, Cologne, Germany | |
| Elmgreen & Dragset: Museum, Ed. Chuz Martinez, Fundacio La Caixa, Barcelona, Spain | |
| Beyond Paradise: Nordic Artists Travel East, Moderna Museet, Stockholm, Sweden, pp. 24-25 | |
| Elmgreen & Dragset, ”Taking Place“, Beatrix Ruf (ed.), Kunsthalle Zürich, Hatje Cantz Verlag, Ostfildern, Germany | |
| No return, Sammlung Haubrock, Abteiberg Museum, Mönchengladbach, Germany | |
| Pause, Kwangju Biennial, Inseon Kim (ed.), Kwangju, South Korea, (2 books: Realization and Conception) | |
| Shopping: A Century of Art and Consumer Culture, Max Hollein and Christoph Grunenberg (eds.), Hatje Cantz Publishers, Ostfildern-Ruit, Germany, p. 68 | |
| Strike, Ed. Gavin Wade, Wolverhampton Art Gallery, Alberta Press London, UK, 2002, pp. 56-57. | |
| Sudden Glory: Sight Gags and Slapstick in Contemporary Art, Ed. Nancy Crowley, CCAC Wattis Institute for Contemporary Arts, San Francisco, USA, p. 49 | |
| We are All Normal (and we want our freedom): a collection of contemporary Nordic artists’ writings, Katya Sander and Simon Sheik (eds.), Black Dog Publishing Limited, London, UK, pp. 88-91 | |
| XXVII Bienal de Arte de Pontevedra, Deputación de Pontevedra, Spain, pp. 58-61 | |
| 2001 | A little bit of history repeated, Kunst-Werke, Berlin, Germany, pp. 20-21 |
| “Rent”, Jacob Fabricius in: audit, Casino Luxembourg, Forum d’art contemporain, Luxembourg, pp. 48-53 | |
| Breeze od AIR/Hortus Conclusus, Introduction by Tanya Elstgeest, Rotterdam, The Netherlands, pp. 74-77 | |
| egofugal, 7th International Istanbul Biennial, Turkey, (2 books: Turkish and English) | |
| Elmgreen & Dragset: A Room Defined by its Accessibility, Sven Bjerregaard and Marianne Torp (eds.), Statens Museum for Kunst, Copenhagen, Denmark | |
| From #4, July, Witte de With, Center for Contemporary Art, The Netherlands | |
| I like theater & theater likes me, Deutsches Schauspielhaus in Hamburg, Germany, pp. 10-15 | |
| Inside Space, Ed. Bill Arning, MIT List Visual Arts Center, Cambridge, UK, p. 24 | |
| Maskuliniteter, Nikolaj Contemporary Art Center, Copenhagen, Denmark | |
| ”Pure Presence, White Kills“, Daniel Birnbaum in: Sets: Performing Surfaces, International Artists’ Studio Program in Sweden in Venice (49th Venice Biennial), Propexus, pp. 63-69 | |
| 2000 | Borderline Syndrome, Manifesta 3, pp. 64-66, Switzerland |
| Century of Innocence – The History of The White Monochrome, Rooseum, Malmö, Sweden, pp. 44-45 | |
| Elmgreen & Dragset „Zwischen anderen Ereignissen, Ed. Jan Winkelmann, Galerie für Zeitgenössische Kunst Leipzig, Germany | |
| Hugo Boss Prize 2000, Guggenheim, New York, USA, „Queering the cube“, Alison Gingeras, pp. 43-45 | |
| iHOP, Lunds Konsthall, Lund, Sweden, p. 66 | |
| Leaving The Island, Pusan Contemporary Art Festival, Pusan, South Korea, p. 49 | |
| Sporting Life, Museum of Contemporary Art, Sydney, Australia | |
| The Port of Pusan, Pusan Contemporary Art Festival, im Gook, Pusan, South Korea | |
| Yours Truly, Jacob Fabricius (ed.), Pork Salad Press, Copenhagen, Denmark, p. 34 | |
| Waiting, Mjellby Konstgårds Vänner, Halmstad, Sweden, p. 9 | |
| 1999 | Carnegie Art Award 1999, Ulrika Levén (ed.), Carnegie Art Award Publishing, Stockholm, Sweden, pp. 52-53 |
| Signs of Life, Melbourne Biennial, Australia | |
| 1998 | Berlin/Berlin, Berlin Biennale, Germany, pp. 99-100 |
| Cool Places, Contemporary Art Centre, Vilnius, Lithuania | |
| Elmgreen & Dragset: Powerless Structures, texts by Sanne Kofod Olsen, Hans Ulrich Obrist and Mark Kremer, Nifca | |
| Junge Szene, Wiener Secession, Vienna, Austria, pp. 89-90 | |
| Nuit Blanche, Musée d’Art Moderne de la Ville de Paris, France | |
| Pakkhus, Momentum, pp. 38-39 Powerless Structures, NIFCA, DCA and Norsk Kulturråd |
|
| 1997 | The Louisiana Exhibition: New Art from Denmark and Scania, Louisiana Museum of Modern Art, Humlebaek, Denmark, p. 36 (Released in both Danish and English) |
| 1996 | Between You & Me, Danish Cultural Ministry’s Exhibition Space for Young Art, Denmark |
| The Scream/Borealis 8, Kim Levin (ed.), Arken Museum of Modern Art, Ishøj, Denmark |
Articles and reviews (selected)
| 2018 | “A Deep Dive Into Sadness, Humour and Sex”, The Guardian, September 26, 2018 |
| “Lament For a Lost Pool”, Evening Standard, September 25, 2018 | |
| “Rocking the Boat. The Artists Who Don’t Want You to Call Their Work Art”,The Times, September 20, 2018 | |
| “The Art of Having a Laugh”, The i Newspaper, September 20, 2018 | |
| “Double Trouble”, Sleek Magazine, September, 2018 | |
| “Art Can Give Us Hope”, The Art Newspaper, September, 2018 | |
| “Elmgreen & Dragset: ‘It’s Better to Scream With Laughter Than Just Scream'”, Financial Times, August 31, 2018 | |
| 2017 | “Elmgreen & Dragset’s Artist-Driven Istanbul Biennial Is a Model for Future Curators”, Editorial, Artsy, September 15, 2017 |
| “For a Politically Fraught Istanbul Biennial, Elmgreen & Dragset Rely on Metaphor to Sidestep Direct Confrontation”, Hili Perlson, Artnet, September 15, 2017 | |
| “Elmgreen & Dragset Istanbul Biennial Curators to Collaborate With Istanbul Film Festival”, Artlyst, March 12, 2017 | |
| 2016 | “Elmgreen & Dragset to Curate 2017 Istanbul Biennal”, Artforum, April 13, 2016 |
| “Elmgreen & Dragset Lend Rockefeller Center Van Gogh’s Ear”, Interior Design, March 28, 2016 | |
| “Artists Elmgreen and Dragset bring ‘Van Gogh’s Ear’ to New York”, Nadja Sayer, The Guardian, March 30, 2016 | |
| “Elmgreen & Dragset’s Upcoming Tel Aviv Museum Show To Tackle Politics with Subtlety”, Henri Neuendorf, artnet.com, March 3, 2016 | |
| “A Fake Art Fair Takes Aim at Contemporary Practices”, Catherine Chapman, The Creators Project, February 16, 2016 | |
| “Elmgreen and Dragset Bring Their Fictional Art Fair to Beijing”, Samuel Spencer, BLOUINARTINFO.com, February 11, 2016 | |
| “Elmgreen & Dragset’s ‘The Well Fair’ at Beijing’s Ullens Center”, Nick Compton, Wallpaper, January 27, 2016 | |
| “Elmgreen & Dragset create a fictional art fair in Beijing”, Gareth Harris, The Art Newspaper, January 20, 2016 | |
| “Elmgreen & Dragset create a fake art fair in China”, Phaidon, Jannuary 21, 2016 | |
| 2015 | “Artists Elmgreen & Dragset Create Fake Art Fair Stocked with Their Own Artwork” Brian Boucher, Artnet, November 2015 |
| “Two of a Kind: an interview with Elmgreen & Dragset”, Sleek Magazine #44, January 2015 | |
| “Architect Simon Mitchell on Prada Marfa, Texas”, Simon Mitchell, The Guardian, January 2015 | |
| “Elmgreen & Dragset”,Lars Bang Larsen, Art Forum, February 2015 | |
| “Elmgreen & Dragset train their telescope on New York”, Gareth Harris, The Art Newspaper, Issue 266, March 2015 | |
| “Artists Elmgreen and Dragset Continue the Story of Norman Swann with “Past Tomorrow””, Adam Lehrer, forbes.com, April 17, 2015 | |
| “Mr. Swan moves to New York”, Emily Mcdermott, interviewmagazine.com, April 22, 2015 | |
| “Meet Norman Swann, the Failed Fictional Architect at the Heart of Elmgreen and Dragset’s New Show”, Eileen Kinsella, Artnet News, April 24, 2015 | |
| “Elmgreen & Dragset turn galerie perrotin into a furnished bedroom”, Nina Azzarello, designboom.com, April 26, 2015 | |
| “Elmgreen & Dragset Turn Art Gallery into Apartment”, Sehba Mohammad, nyc.flavorpill.net, April 28, 2015 | |
| “Elmgreen & Dragset Document a Life in Progress at Galerie Perrotin”, Stephanie Murg, ocula.com, April 29, 2015 | |
| “What if your apartament were an installation?”, Katherine Tarpinian, The Creators Project, April 27, 2015 | |
| “Elmgreen & Dragset Bring Norman Swann To Galerie Perrotin”, Ann Binlot, forbes.com, May 7, 2015 | |
| “‘You get more out of art that doesn’t allow you to do something’: Elmgreen and Dragset on ‘Past Tomorrow’ at Gallerie Perrotin”, Hannah Ghorashi, artnews.com, May 21, 2015 | |
| “Time travel to your imaginary destination”, Lee Woo-young, Korea Herald, 26 July, 2015 | |
| 2014 | “Elmgreen & Dragset’s “The Old World” pokes fun at European culture”, Kylie Knott, South China Morning Post, April 2014 |
| “Ingen Udsigt”, Ditte Vilstrup Holm, kunsten.nu, September 2014 | |
| “Farvel til normtænkningen – portræt af Elmgreen & Dragset”, Anna Sofie Hillersborg, Magasinet Kunst, September 2014 | |
| “Kunstnerduo gør den uafvendelige død dagligdags”, Trine Ross, politiken.dk, September 2014 | |
| “Elmgreen & Dragset – Biography”, DAMn Network, September 2014 | |
| “Prada Marfa Saved”, Julia Halperin, mutualart.com, September 2014 | |
| “Elmgreen & Dragset’s retrospective at the National Gallery of Denmark explores loneliness and solitude in contemporary culture”, Ellen Himmelfarb, Wallpaper, September 2014 | |
| “Den nye kjedsomheten”, Mathias Danbolt, kunstkritikk.no, October 2014 | |
| ”Biography – Elmgreen & Dragset”, Ana B.K, Widewalls, December 27, 2014 | |
| “Elmgreen & Dragset – Biography”, Roos van der Lint, artreview.com, December 2014 | |
| 2013 | “Tomorrow — Elmgreen & Dragset at the V&A”, Ellis Woodman, bdonline.co.uk, September 2013 |
| “Elmgreen and Dragset bring Through the Keyhole back to life as art”, Adrian Searle, The Guardian, September 18, 2013 | |
| “Guest editors Elmgreen & Dragset – Fictional Homes and Home Thruths”, Wallpaper, October 2013, p.219-241 | |
| “Elmgreen & Dragset transform V&A into an opulent apartment”, Nina Azarello, designboom, September 2013 | |
| “Monumental Cheek: Inside the World of Elmgreen and Dragset”, Time Style and Design, Spring 2013 | |
| “Elmgreen & Dragset”, Kimberly Bradley, artreview.com, October 2013 | |
| “Elmgreen & Dragset: Anxieties rise as mischievous work takes a dark turn between summer in Munich and autumn in London”, ArtReview, vol 65 no 7, October, p.102-105 | |
| “A life interrupted by viewers”, New York Times, December 2013 | |
| “Elmgreen & Dragset Create a Fake London Apartment”, Clemens Bomsdorf, The Wall Street Journal, September 26, 2013 | |
| “Kritisk kunst eller lovløs reklame” Jacob Lillemose, kunstkritikk.dk, October 2013 | |
| “Elmgreen & Dragset’s boy on a rocking horse off to ARKEN”, Maria Bordorff, Kopenhagen Magazine, August 12, 2013 | |
| “Elmgreen & Dragset” Kimberly Bradley, Art Review, 65 Issue 7, p. 102, October 2013 | |
| “Tomorrow Today”, Claire Wrathall, Modern Painters, Vol. 25 Issue 9, p. 82, October 2013 | |
| “Come on in, make yourself at home”, Rio Hopkins, Art Newspaper, Vol. 23 Issue 250, p. 44, October 2013 | |
| “Rediscovering Domesticity”, Niamh Coghlan, Aesthetica, Issue 55, p28, October/November 2013 | |
| 2012 | “Horsing around in the Square”, Louise Jury, London Evening Standard, February 2012 |
| “Turistattraktion”, Cecilie Høgsbro Østergaard, kunstktitikk.dk, June 2012 | |
| “Elmgreen & Dragset: Han public sculpture in Elsinore, Denmark installed”, Leigha Db, designboom.com, May 31, 2012 | |
| “Elmgreen and Dragset’s Fourth Plinth, review”, Alastair Sooke, telegraph.co.uk, February 23, 2012 | |
| “Off their rockers: the artists behind the latest addition to the fourth plinth”, Adrian Searle, theguardian.com, February 19, 2012 | |
| “Scandinavian Subversives: Elmgreen & Dragset On Show at Louis Vuitton”, William Lee Adams, style.time.com, November 12, 2012 | |
| “Michael Elmgreen and Ingar Dragset: Powerless Structures, Fig. 101”, Rob Alderson, It’s Nice That, February 23, 2012 | |
| “‘Between What is Private and What is Public’: Inside Elmgreen & Dragset’s Studio”, Daniel Kunitz, blouinartinfo.com, November 22, 2012 | |
| 2011 | “INTERVIEW WITH ELMGREEN & DRAGSET”, Ben Hunter & Nicholas Shorvon, The White Review, October 2011 |
| “IMPS OF THE PERVERSE”, Linda Yablonski, NYTimes.com, September 5, New York, USA | |
| “Portraits: mehr als klassische Bilder”, Andreas Hergeth, siegessäule.de, March 29, Berlin, Germany | |
| “Must See Ausstellung in Berlin: Portraits bei Gerhardsen Gerner”, Judith Plodeck, privatecurators.com, February 25, Berlin, Germany | |
| “Künstlerpositionen – Gerhardsen Gerner laden zum Exkurs über das Thema Portraits”, Volkmar Draeger, Neues Deutschland, edition Berlin-Brandenburg, March 28, p. 12, Berlin, Germany | |
| “Nah am Wasser gebaut – Die Galerie Gerhardsen Gerner”, Kathrin Tobias, Kunstmagazin.de, March 29, Berlin, Germany | |
| “Malen nach Zahlen-Allzu beliebig: Porträts in der Galerie Gerhardsen Gerner”, Beate Scheder, Berliner Zaitung, February 4, Berlin, Germany | |
| “Wenk und Wiese Architekten: Pumpwerk Neukölln”, Arch+ Verlag, Hamburg, Germany, pp. 138-141 | |
| “Definitions of Home at Singapore Biennale”, Sonia Kolesnikov-Jessop, nytimes.com, March 21 (print version appeared in The International Herald Tribune, March 22), New York, USA | |
| “Elmgreen & Dragset: German Barn at Singapore Art Biennale 2011”, designboom.com, March 21, Milan, Italy | |
| “Moving Displays”, The Star online, March 20, Selangor, Malaysia | |
| “Stepping Into the Luxurious Lion’s Cage”, Adam Gifford, nzherald.co.nz, March 19, Auckland, New Zealand | |
| “The Singapore Biennale: Turning Singapore Into a Cultural Capital”, Elaine Ee-Meyers, CNNgo.com, March 17, Georgia, USA | |
| “Die Endstation aller Sehnsüchte”, Sieglinde Geisel, NZZonline, February 22, Zürich, Switzerland | |
| “Elmgreen & Dragset: Vamos a la Sauna”, Gorka Goenaga, Shangay, No. 396, Madrid, Spain, p. 38 | |
| “How are you”, Jay Weissberg, variety.com, February 21, Los Angeles, USA | |
| “Kontrolfreaks i terapi”, Michael Enggaard, Morgenavisen, February 19, Oslo, Norway, p. 6 | |
| “Dansk bøssefilm hitter I Berlin”, Kim Kastrup, Ekstra Bladet, February 19, Copenhagen, Denmark | |
| “Exzentrisch, praktisch, gut Huldigungen: zwei Kuenstlerdokus im panorama”, Nicola Kuhn, tagesspiegel.de, February 17, Berlin, Germany | |
| “Kunsten har hovedrollen” by Kristian Lindberg, Berlingske Tidende, 17 February, Copenhagen, Denmark, p. 22 | |
| “Berlinale: Report 2”, Lotje Sodderland, SBS Documentary, 15 February, Sydney, Australia | |
| “Wohlfühlen mit Elmgreen & Dragset”, Elke Buhr, monopol-magazin.de, 15 February, Berlin, Germany | |
| “Berlinalen dag 6 – Iransk skilsmisse ligner en vinder”, Avisen.dk, 15 February, Copenhagen, Denmark | |
| “Elmgreen & Dragset Berlinale: Starker Start”, art-magazin.de, 15 February, Hamburg, Germany | |
| “Schön reich, schön blöd”, Kolja Reichert, tagespiegel.de, February 10, Berlin, Germany | |
| “Interview: Elmgreen & Dragset”, Mikkel Carl, kopenhagen.dk, February 5, Copenhagen, Denmark | |
| “Dynamic Duos”, Hilarie M. Sheets, ARTnews, February Issue, New York, USA, p. 86-92 | |
| “Kuenstler – Kritisches Lexicon der Gegenwartskunst”, Zeit Kunstverlag, Edition 93/2/1st. Quarter, Munich, Germany | |
| “Los Platos fuertes de la temporada”, I.L., El País, February 17, Madrid, Spain, p. 7 | |
| “Elmgreen & Dragset. Amigos: The Story behind the Plot”, Pedro Medina, Artecontexto, February Issue, Madrid, Spain, pp. 144-145 | |
| “New Kid on the block – Elmgreen & Dragset discuss the idea behind their “powerless” sculpture”, The Economist, January 21, London, UK | |
| “Wir stellen nur dumme Fragen, wir haben keine Antworten”, Hans Joachim Müller, art Das Kunstmagazin, February Issue, Hamburg, Germany, pp. 32-41 | |
| “Fourth Plinth”, Hans Pietsch, art-magazine.de, January 17, Hamburg, Germany | |
| “Sockel-Gockel”, Alexander Menden, Süddeutsche.de, January 15, Munich, Germany | |
| “Elmgreen & Dragset: Gay friendly”, Elena Vozmediano, El Cultural, January 28, Madrid, Spain, pp. 26-27 | |
| “Los Turner son publicidad para la Tare Gallery”, Ángeles García, El País, January 21, Madrid, Spain, p. 40 | |
| “Elmgreen & Dragset’s >Amigos< at Galeria Helga de Alvear, Madrid”, Octavio Zaya, art-agenda.com, January 20, New York, US | |
| “Cock of the South… blue bird and rocking horse to occupy plinth”, Yorkshire Post, January 15, Leeds, UK | |
| “Why Lord Nelson will be looking down on a rocking horse and a blue cockerel”, Times, January 14, London, UK | |
| “Trafalgar Square Fouth Plinth art choices revealed”, Anita Sign, Telegraph, January 14, London, UK | |
| “Bird brained: Boris´s blue period as giant cockerel is set for capital”, Anita Singh, Telegraph, January 15, London, UK | |
| “Elmgreen & Dragset vinder i Lomdon”, Maja Sandberg, Kunsten.nu, January 14, Aarhus, Denmark | |
| “Some more unusual Company for Admiral Nelson”, Randy Kennedy, New York Times, January 14, New York, USA | |
| “Gewinner für Fourth Plinth in London bekanntgegeben”, monopol-magazin.de, January 14, Berlin, Germany | |
| “Giant Cockerel, Boy on Rocking Horse to grace Fourth Plinth”, Londonist, January 14, London, UK | |
| “Boy on Rocking Horse and Big Blue Cockerel chosen for Fourth Plinth”, Zoe J. Griffiths, London Blog, January 14, London, UK | |
| “Up next in Traflagar Square”, The Independent, January 15, London, UK | |
| “Rocking horse child wins place on Trfalgar Square’s Fourth plinth”, Mark Brown, guardian.co.uk, January 14, London, UK | |
| “Male posturing Cock of the square”, Mark Brown, The Guardian, January 15, London, UK | |
| “Elmgreen & Dragset and Katharina Fritsch chosen for Fourth Plinth commissions”, FlashArt Online, January 15, Milan, Italy | |
| “2012 bronze: rocking horse boy to stand on fourth plinth”, Louise Jerry, Evening Standard, January 14, London, UK | |
| “Trafalgar Square gets Rocking Horse”, Daily Mirror, January 15, London, UK | |
| “Elmgreen & Dragset’s Powerless Structure and Katharina Fritsch’s giant cockerel hit Fourth Plinth”, Culture24, January 14, Brighton, UK | |
| “A big blue cockerel for Trafalgar square”, Mark Sinclair, Creative Review , January 14, London, UK | |
| “Trafalgar plinth to hold boy, rooster”, CBC Arts, January 14, Toronto, Canada | |
| “Blue Rooster, Rocking Horse to Replace Ship in bottle on London´s Fourth Plinth”, Farah Nayeri, Bloomberg, January 14, New York, USA | |
| “Trafalgar Square Fourth Plinth art choices revealed”, BBC news, January 14, London, UK | |
| “Fourth Plinth winners announced”, Fisun Güner, theartsdesk.com, January 14, London, UK | |
| “Elmgreen & Dragset and Katharina Fritsch selected for London’s Fourth Plinth”, Arforum.com, January 14, New York, USA | |
| “Elmgreen & Dragset: Winner of the 2012 Commission for the Fourth Plinth in Trafalgar Square”, Art Report, January 14, Munich, Germany | |
| “Rocking Horse and Rooster set for Trafalgar Square”, ABC News, January 14, New York, USA | |
| “Elmgreen & Dragset”, Michael Hübl, Kunstforum International, Jan/Feb Issue, Cologne, Germany, pp. 347-449 | |
| “Deseprate Houses”, Jean-Max Colard, Les Inrockuptibles, January 12, Paris, France, pp. 108-109 | |
| “Elmgreen & Dragset, icone dela morbosità cool”, Daniela Perra, Il Sole24 Ore, January 13, Milan, Italy | |
| 2010 | “Museum takes wing in thrilling style”, Rachel Spence, FT.com, December 28, London, UK |
| “Interview: Michael Elmgreen & Ingar Dragset on their 4th Plinth Entry”, dv8soho.com, December 1, London, UK | |
| “Bilbao in Texas”, Martin Wolf, Spiegel, no. 51, Hamburg, Germany | |
| “Actors are playing us, but we might interfere”, Clemens Bomsdorf, Art Newspaper, December 19, London, UK, p. 39 | |
| “Berühmte unter sich”, Hans-Dieter Fronz, Badische Zeitung, December 18, Freiburg, Germany | |
| “Mit dem Champagnerglas vor der Tür”, Sandra Danicke, Frankfurter Rundschau, November 24, Frankfurt am Main, Germany, pp. 35-36 | |
| “Casting-Show im Plattenbau”, Focus.online, November 18, Munich, Germany | |
| “Der Voyeur in uns”, orf.at, November 18, Vienna, Austria | |
| “Klischee und Vorurteil”, art-magazine.de, November 15, Hamburg, Germany | |
| “Elmgreen & Dragset in Karlsruhe”, Kunstmarkt.com | |
| “Das Versprechen in der Keksdose”, Hans Joachim Mueller, Welt am Sonntag, November 14, Berlin, Germany | |
| “Plattenbau und Ballsaal”, Die Rheinplalz, November 13, Ludwigshafen, Germany | |
| “Promis statt Nachbarn”, Fuldaer Zeitung, November 13, Frankfurt am Main, Germany | |
| “Stars, Stalker, Voyeure”, Elke Buhr, Monopol, December Issue, Berlin, Germany, pp. 60-66 | |
| “Preview”, Monopol, October Issue, Berlin, Germany | |
| “Innblikk i ensomheten”, Hans Christian Hansson, VG, Oslo, Norway, pp. 44-45 | |
| “Patek Philippe als Elmgreen & Dragsets neues Prada”, Clemes Bomsdorf, High North, November 13 | |
| “Einsamkeit und schöner Schein”, Ingo-Senft-Werner, Heilbronner Stimme, November 11, Heilbronn, Germany | |
| “Die Sehnsucht lauert überall”, Annika Wind, Mannheimer Morgen, November 11, Mannheim, Germany | |
| “Plattenbau und Kronleuchter”, Burkhardt Meier-Grolman, SchwäbischePost.de, November 11, Aalen, Germany | |
| “Einsamkeit der Massen in der Medienwelt”, Ingo Senft Werner, Ludwigsburger Kreiszeitung, November 10, Ludwigsburg, Germany | |
| “Spektakel der anderen Art”, Kia Vahland, Süddeutsche Zeitung, November 10, Munich, Germany | |
| “Sogar der Kamin bleibt kalt”, Barbara Gärtner, Süddeutsche Zeitung, November 9, Munich, Germany, p. 11 | |
| “Glamour und Tristesse”, Barbara Gärtner , Süddeutsche Zeitung, November 9, Munich, Germany | |
| “Fegefeuer der Verheißung”, Matthias Weiß, Kunstzeitung, November Issue, Regensburg, Germany | |
| “Die Zukunft der Wohlfahrt”, Ingo Arend, getian.de, Berlin, Germany | |
| “Talking about Elmgreen & Dragset”, Elena Bordignon, vogue.it, Milan, Italy | |
| “Das Leben der anderen”, Johannes Halder, dradio.de, November 7, Cologne, Germany | |
| “In guter Erregungsgesellschaft”, Timo Schmeltzle, Die Rheinpfalz, November 6, Ludwigshafen, Germany | |
| “Die Medien als Banken”, Peter Kohl, Badische Neuste Nachrichten, 6 November | |
| “Stars und Spanner” Michael Hübl, Badische Neuste Nachrichten, 5 November | |
| “Wir sind nichts als Voyeure”, Swantje Karich, FAZ, November 5, Frankfurter am Main, Germnay, p. 31 | |
| “The big Frieze”, Ben Luke, London Evening Standard, October 14, London, UK, p. 36 | |
| “Splash, bang, wallop” by Adrian Searle, The Gaurdian Art Special, October 14, London, UK, pp. 10-11 | |
| “Modelle fuer Denkmalsockel am Trafalgar Square”, monopol-magazin.de, August 20, Berlin, Germany | |
| “Fourth plinth designs include giant Battenberg cake”, telegraph.co.uk, August 20, London, UK | |
| “A slice of Battenberg for Trafalgar Square? Cake art among works considered for fourth plinth”, Mail online, Daily Mail Reporter, August 19, London, UK | |
| “Fourth Plinth – Gockel, Geldautomaten-Orgel und Gebirgslandschaften”, Hans Pietsch, art-magazine.de, August 20, Essen, Germany | |
| “Artists vie for peach on Fourth Plinth” by Peter Aspden, FT.com, August 19, London, UK | |
| “Fourth plinth artists get cocky”, Mark Brown, The Guardian, August 20, London, UK, p. 15 | |
| “Fourth plinth battle: the heroic child takes the cake”, Adrian Searle, guardian.co.uk, August 19, London, UK | |
| “Cockerels, cashpoints and cake next for fourth plinth”, Arifa Akbar, The Independent, August 20, London, UK, p. 9 | |
| “Megafon mod diskrimination”, Kristian Lindberg, Berlingske Tidende, August 18, Copenhagen, Denmark | |
| “Hey du, opfoer dig ordentligt!”, Finn Smed Sahlholdt, Morgenavisen, August 18, Copenhagen, Denmark, pp. 14-15 | |
| “Kobnhavn vil hadforbrydelser til livs”, Asger Westh, Morgenavisen, August 24, Copenhagen, Denmark | |
| “Den Lille Havfrues bror er fanget I debat”, Torben Benner, Politiken.dk , June 1, Copenhagen, Denmark | |
| “Mandlig havfrue deler vandene i Helsingoer”, Torben Benner, Politiken.dk, March 16, Copenhagen, Denmark | |
| “Work in Progress”, Anneke Bokern, Mark Magazine, Amsterdam, The Netherlands, pp. 115-119 | |
| “Currency Converter”, Anna Sansom, Sleek, Spring Issue, Berlin, Germany, p. 83 | |
| “Basel bleibt das wahre Wunder”, FAZ, June 19, Frankfurter am Main, Germany, p. 139 | |
| “Pop ist überall”, Art Magazine, June Issue, Hamburg, Germany, pp. 52-64 Geisai, no. 2, Tokyo, Japan, p. 161 | |
| “Artists in Berlin”, The Outlook Magazine, June Issue, Shanghai, China, p. 72 | |
| “Elmgreen & Dragset til Trafalgar Square?”, Pernille Albrehtsen, kunstkritikk.dk, August | |
| 2009 | “Les surprises de la Biennale de Venise” by Guy Boyer, Connaissance Des Arts, p. 10 |
| “Michael Elmgreen & Ingar Dragset: ‘The Collectors’ at the Nordic Pavilion”, Andrea DB, Designboom, December 6 | |
| “Broken Homes”, The World Of Interiors, November | |
| “Two Worlds Of Interiors”, April Lamm, Sleek Magazine, Autumn, p. 44-60 | |
| “Postcards from Europe”, Alex Gartenfeld, Whitewall, Fall, p. 124-125 | |
| “Mysteriöse Junggesellen”, Carsten Bauhaus, Männer, September 6, p. 86-87 | |
| “Venice ’09. When Worlds Elide”, Diedrich Diederichsen, Artforum, September, p. 13 | |
| “Melancholy Giardini: The National Pavilions”, Lynn Macritchie, Art in America, September, p. 105-107 | |
| “Written On Water. The highs and lows of the 53rd Venice Biennale, Fare Mondi Making Worlds” by Barbara Casavecchia, Dan Fox & Jennifer Higgie, Frieze, September, p. 124-127 + p. 130 | |
| “Ein Holzhaus dümpelt im Wasser, ein Ausstellungspavillon mutiert zur Tatort-Villa, eine Cafeteria wird Skulptur: Auf der Biennale in Venedig verschwimmen die Grenzen von Kunst und Architektur”, Ruth Händler, Häuser, September, p.124-129 | |
| “What Subject Of Taste”, Ina Blom, Texte zur Kunst, September, p. 86-93, 135-138 | |
| “The Collectors. Ein Gespräch von Heinz-Norbert Jocks”, Heinz-Norbert Jocks, Kunstforum, August/September, p. 182-193 | |
| “Work In Progress. Elmgreen & Dragset”, V-Magazine, August 31 | |
| “53rd Venice Biennale” by Barbara A. MacAdam, ARTnews, Summer, p. 118-119 | |
| “Elmgreen & Dragset. Danish and Nordic Pavillon” by Skye Sherwin, Art Review, Summer | |
| “Nord á Venise”, Damien Delille, Blast, Summer | |
| “The Collectors: Elmgreen & Dragset”, Elena Sommariva, Domus, July 8 | |
| “Es ist eingerichtet. Ein Rundgang zur Venedig-Biennale 2009”, Silke Hohmann, Monopol, July, p. 28-33 | |
| “Two for One”, FZ, Interview, June/July, p. 41 | |
| “Of dogs and doges”, Jackie Wullschlager, Financial Times, June 13, p. 11 | |
| “Manche können’s einfach besser”, Rose-Maria Gropp, Frankfurter Allgemeine, June 13, p. 41 | |
| “A casa di Mister B”, Susanna Legrenzi, iO, June 13, p. 134-137 | |
| “Gjennomfort og spissfindig”, Oivind Storm Bjerke, Klassekampen, June 10, p. 28-29 | |
| “Mondo veneziano”, Claire Mouléne et Jean-Max Colard, Les Inrockuptibles, June 10 | |
| “Bodies, babble and blood”, Adrian Searle, The Guardian, June 9 | |
| “A spectre of death in Venice”, Rachel Campbell-Johnston, The Times, June 9, p. 14 | |
| “Artists in designers’ clothing”, Alice Rawsthorn, International Herald Tribune, June 8 | |
| “Venice behind the mask”, Richard Dorment, The Daily Telegraph, June 8 | |
| “A more Serene Biennale”, Carol Vogel, The New York Times, June 8 | |
| “Das schönste Bild der Biennale gondelt als Charlotte rum. Venedig ist zurzeit ein Gesamtkunstwerk” by Carolin Dendler, Bild am Sonntag, June 7 | |
| “Nordisk nabolag” by Kari J. Brandtzaeg, Dagbladet, June 7, p. 42 | |
| “I padiglioni alla Biennale” by Elena del Drago, Il Manifesto, June 7, p. 11 | |
| “A Night Out With Massimiliano Gioni. An Artistic Voyage” by Julia Chaplin, The New York Times, June 7 | |
| “On your vaporetto to the far pavilions” by Laura Cumming, The Observer, June 7, p. 14-15 | |
| “Picture story of the week. Er, is this a watercolour?”, The Sunday Times, June 7, p. 10-11 | |
| “Küche zu verkaufen. Pavillons und Penthouse – Die Künstler in den Staatenhäusern der Biennale” by Holger Lieb, Süddeutsche Zeitung, June 6-7 | |
| “Venezia/2. Il corpo come provocazione” by P. Pan., Corriere Della Sera, June 6, p. 47 | |
| “Schämt euch doch selbst” by Peter Richter, Frankfurter Allgemeine, June 6, p. 23 | |
| “Tra code e scrivanie erotiche ecco come godersi la Biennale” by Alda Vanzan, Il Gazzettino, June 6 | |
| “Venice Biennale diary. How festival mingles works and pleasure” by Charlotte Higgins, The Guardian, June 6, p. 22-23 | |
| “Starker Auftritt” by Susanne Schreiber, Handelsblatt, June 5-7, p. 48 | |
| “El desacato de The Collectors y la cita previa de McQueen” by A. Lucas, El mundo, June 5, p. 52 | |
| “De paseo con Barceló por la Bienal” by Ángeles García, El pais, June 5, p. 46 | |
| “Arte proteste provocazioni: gran bazar Venezia”, Paolo Navarro Dina, Il Gazzettino, June 5, p. 17 | |
| “Please look now” by David Lister, The Independent, June 5, p. 4-5 | |
| “The Artworld’s Olympics” by Kelly Grow, The Wall Street Journal, June 5 | |
| “Blood, Oil and Designer Rugs: the world’s top artists get set fort he Venice Biennale” by Charlotte Higgins, The Guardian, June 3, p. 23 | |
| “Selbstmord in Venedig” by Silke Müller, Stern, June, p. 102-105 | |
| “Radical Reconstructions” by Paola Nicolin, Abitare, June, p. 36-41 | |
| “Notre sélection. Le pavillon nordique” by Emmanuelle Lequeux, Beaux Arts, June | |
| “Elmgreen & Dragset. I’ll Show You the Place Where the Heart Is” by Marta Galli, Muse Magazine, June, p. 80-91 | |
| “Danimarca e paesi nordici” by Pierpaolo Ferrari, Uomo Vogue, May/June | |
| “Home Team / A Pair Of Artists Play House” by Alix Browne, The New York Times Magazine, May 31, p. 58 | |
| “Quel décor domestico dal gusto dissonante” by Costanza Paissan, Alias – Il Manifesto, May 30, p. 9 | |
| “It’s Reigning Men” by David Velasco, Artforum.com, May 6 | |
| “500 words. Elmgreen & Dragset” by David Velasco, Artforum.com, January 6 | |
| 2008 | Brutus, no. 7, Tokyo, Japan, p. 140 |
| “Inconvenient Truths” by Marcus Verhagen, Art Review, Issue 26, October, p. 74-81 (+ artists insert, p. 69 and supplement) | |
| “Scheinheilig weiß: Die Welt des Künstlerduos Elmgreen & Dragset” by Holger Liebs, Süddeutsche Zeitung, September 19, p. 16 | |
| “Elmgreen & Dragset” Pongsuang Kunprasop, B magazine, issue 1, July-September, p. 54-65 | |
| “Lille spejl i vandet der” by Karsten R. S. Ifversen, Section 2, Politiken, September 5, p. 2 | |
| “Spacey brings art to life in Brillo idea for Old Vic stage” by Rashid Razaq, Evening Standard, July 30, p. 8 | |
| “Prada in der Wüste” by Ingeborg Wiensowsk, Spiegel Online, July 22 | |
| “Hjemmesider” by Solveig Lønmo, Adresseavisen, June 23, p. 3 | |
| “Duo Bravo” by Kari Hovde, Ukeadressa, June 21, p. 8-13 | |
| “Mer lidenskap!” by Kjell-Ivar Myhr, Dagbladet, June 21, p. 54-55 | |
| “Kunsten å harselere” by Anne Cecilie Lund, Dagens Næringsliv, June 6, p. 69 | |
| “Hjemme best”, Heidi Oliv Wollamo, Adresseavisen, June 24, Trondheim, Norway, p. 20 | |
| “Hottest i Europa”, Børre Haugstad, VG, June 20, Oslo, Norway pp. 44-45 | |
| “Vi vil skabe hverdagshelter”, Kai Kristiansen, Adresseavisen, June 20, Trondheim, Norway, pp. 4-5 | |
| “Der Kuss” by Jörg Lau, Die Zeit, May 29 | |
| “Germany remembers gay victims of the Nazis” by Kate Connolly, The Guardian, May 28 | |
| “Germany remembers Persecuted Gays” by Lawrence van Gelder, The New York Times, May 28 | |
| “Gay victims of Thrid Reich are honoured in Berlin with stark memorial” by Roger Boyes, The Times, May 28 | |
| “Zwei Männer und ein Denkmal” by Kai Luehrs-Kaisery, Berliner Morgenpost, May 28, p. 19 | |
| “Ein Kuss für die Ewigkeit” by Carolin Ströbeley, Die Zeit, May 28 | |
| “Männerküsse in Beton” by Sebastian Preuss, Berliner Zeitung, May 28 | |
| “Die Erben Andy Warhols” by Kai Luehrs-Kaiser, Die Welt, May 27, p.28 | |
| “Eine Liebesszene, sonst nichts” by Stephanie Wurster, TAZ Die Tageszeitung, May 27 p. 21 and 28 | |
| “Berlin inaugurates memorial to the Nazis’ homosexual victims”, International Herald Tribune, May 27 | |
| “Mehr als ein bisschen Frieden” by Andrea Hildenstock, Kunstzeitung, no. 142, June 2008, p. 29 | |
| “Gedenkstätte: Denkmal für die im Nationalsozialismus verfolgten Homosexuellen”, Bauwelt, no.23, p. 4 | |
| “Et kys kan stadig være farligt” by Henriette Harris, Information, May 28, p.14-15 | |
| “Harter Beton und knutschende Jungs” by Tim Ackermann, Welt Kompakt, May 27, p.23 | |
| “Ein Kuss als doppelte Mahnung” by Anna Reimann and Michael Sontheimer, Spiegel Online, May 27 | |
| “Opfergruppe, die lange Zeit wenig Beachtung fand” by Mechthild Küpper, Frankfurter Allgemeine Zeitung, May 27 | |
| “Im Gebüsch gebaut” by Jan Feddersen, TAZ Die Tageszeitung, May 27, p. 14 | |
| “Der Troubadour im Chatroom” by Hans-Jürgen Linke, Frankfurter Rundschau, May 24 | |
| “Spennende og vellykket operaåpning by Peter Larsen, Bergens Tidende, May 22, p. 35 | |
| “Tidløs kjærlighet” by Erik Bjørnskau, Aftenposten, May 23, p. 1, 6-7 | |
| “Zu viel Politik – zu wenig Sex”, Zitty, may 22 – June 4, p.32-35 | |
| “Kunstnerduo udgiver selvbiografi” by Peter Thygesen, Politiken, June 13 | |
| “Cifte Saglama” by Adnan Yildiz, Muhtelif, Spring, p.11-13 | |
| “Verklärung einer fernen Geliebten” by Bernhard Doppler, Fazit / Duetschlandradio Kultur, May 21 | |
| “Når humoren rykker grænser” by Kirsten Bødker, Børsen, April 29, p.41 | |
| “Conscious Body” by Anna Sansom, DAMn, No. 15, February-March, p.44-49 | |
| “This is what we share”, nDisplayer, 02, p.47-52 | |
| “Somewhere over the rainbow” by Tóth Ali, The Room, spring-summer, p.18 | |
| “Homo-fabrikken” by Osman Kibar, Dagens Næringsliv, D2, 25 January,p. 1, 6-17 | |
| Smag2, Nr. 2 | |
| “Åbner Festspillene med tegnefilm” by Finn Bjørn Tønder, Bergens Tidende, January 29, p.28 | |
| “Les Méthamorphoses d’Elmgreen & Dragset” by Marie Ferman, Dandy, No. 20, February-March, p.34-35 | |
| 2007 | “Pek-a-boo!” by Adrian Searle, The Guardian, June 26, p. 23-26 |
| “Elmgreen & Dragset, ikke flere lidelseshistorier”, Frankly, #9, p. 54-59 | |
| “Monumento e Delitto? Monument and Crime?” by Paula Nicolin, Abitare‚ 476 10, p. 94-97 | |
| “Expanded Fields”, Polly Staple, Frieze, September Issue, London, UK, pp. 145-147, image p. 3 | |
| “Elmgreen & Dragset, Das Künstlerduo”, Tip, September 20th, p. 30 | |
| “Kunst einschalten!”, Monopol, November, p.26 | |
| “Allis’ assoterte” by Johanne Nordby Wernø, Dagbladet,August 13, p. 44-45 | |
| “Quirks and Attitude to Burn” by Holland Cotterby, The New York Times, June 8 | |
| “Kunst muss irritieren”, Münstersche Zeitung, p.1 | |
| “Mindesmærke for homoseksuelle” by Kent Olsen, Jyllands Posten, July 25, p. 11 | |
| “Hohle Primmadonnen” by Manuel Jennen, Münstersche Zeitung, p. 4 | |
| “2 Fragen an Elmgreen & Dragset” by Slike Hohmann, Monopol, # 8, p. 12 | |
| “Ich bin indifferent” by Ossian Ward, Time Out, June 27-July 3, p. 43 | |
| “Desaparición”, Pensa/Piensa/Think, #37, July-August | |
| “Sand Box” by Fred A. Bernstein, The New York Times, April 1, p. 123-128. | |
| “When the Moon Shines on the Moonshine” by Marina Fokidisan, Frieze, March 19 | |
| “Schwarzes Loch” by Holger Liebs, Süddeutsche Zeitung, May 24, p. 13 | |
| “Aufklärungsbedarf”, KulturSpiegel, June, p. 10-11 | |
| “States of Matter, Sculptural sublimations in a state of flux” by Annabelle Hirsch, Alexandra Link and Jeffrey Work, Sleek, Spring, p. 105-106 | |
| “Art imitates Idea” by Joni Taylor, Pol Oxygon, Issue 20, p. 56-63 | |
| “Interview with Elmgreen & Dragset by Maurizio Cattelan”, Bing, May-September, p. 60-63 | |
| “Hoffnung auf Ankunft”, Hannoversche Allgemeine Zeitung, April 25 | |
| “Color Proof #5” by Elmgreen & Dragset, Wonderland, Issue 5, p. 66-67 | |
| “This Is The First Day Of My Life” by Baltazar Castor, Panbladet, Issue 2, March, p. 16-17 | |
| “Den Stängda Dörrens Öppning” by Martin Hägg, Landskrona Posten, April 7, p. 30 | |
| “Verk Utan Modstand” Svenska Dagbladet, April 7 | |
| “Berlin’s Harshly Felt Divide” by Benjamin Weinthal, GayCityNews, March 15-21, p. 2 and p. 25 | |
| “Queer bar på Malmö Konsthall” by Jon Vossurt, QX, March 15 | |
| “Kom tæt på hverdagen og bøsselivet på Malmö Kunsthal” by Ditte Vilstrup Holm, Politiken, March 13 | |
| “Underliggjörerne” by Julie Fjeldstad, Morgenbladet, February 16 | |
| “Journal of a maid” and “Disgrace” by Marie Belot, Bing, January-April, p. 42-45, p. 46-49 | |
| 2006 | “Review”, Anna van Leeuwen, Mister Motley, Amsterdam, The Netherlands, pp. 56-57 |
| “Elmgreen/Dragset”, Hekmag, Fall/Winter 2006/2007, p. 152-153 | |
| “Keepers of the flame” by Nicholas Bostone, Out Magazine, December, p. 94-95 | |
| “Réflexes conditionnés” by Nicolas Trembley, Numéro, November, p. 34-36 | |
| “Das Atelier der Welt”, Art – das Kunstmagazin, October, p. 28 | |
| “Traum von Raum” by Daniel Sander, KulturSpiegel, September, p. 12-16 | |
| “How Are You Today?”, Aaron Moulton, Flash Art Italy, Aug-Sep, p. 80-83 | |
| “Poesie in Beton” by Carsten Bauhaus, Männer Aktuell, June-July, p. 28-31 | |
| “The Welfare Show” by Melanie Puff, Kunstforum International, May-June, p. 389-391 | |
| “Power Structures” by Supitcha Tovivich, art4d, April, p. 64-68 | |
| “Das mahnmal der anderen Seite” by Waltraud Schwab, taz, March 28, p. 23 | |
| “arfa or Marfa?” by Aric Chen, Spoon, January – February, p. 56-61 | |
| “Guard your sanity in the waiting room of life” by Laura Cumming, The Observer, February 5 | |
| “The lost world” by Adrian Searle, The Guardian, January 31, p. 18-20 | |
| “Cultural Desert” by Charlotte Cripps, The Independent, January 30, p. 39 | |
| “We were only being boring” by Rachel Campbell-Johnston, The Times, January 24, p. 17-18 | |
| “Die Kälte der Ewigkeit” by Nikolaus Hablützel, Die Tageszeitung, January 23, p. 17 | |
| 2005 | “Prada, Texas” by Cordula Vielhauer, Süddeutsche Zeitung, October 26, p. 15 |
| “Vandal Hated the Art, but, Oh, Those Shoes” by Barbara Novovitch, The New York Times, October 8, p. A11 | |
| “Michael Elmgreen and Ingar Dragset”, Klosterfelde (Linienstrasse) by Jennifer Allen, Artforum, October, p. 286-287 | |
| “Prada opens closed boutique in desert”, Flash Art, October, p. 51 | |
| “Einsatz in zwei Wänden” by André Rottmann, Texte zur Kunst, September, p. 185-187 | |
| “Istanbul Yaya Sergileri 2” by Sanat Sezonu, Time Out Istanbul, September,p. 38-40 | |
| “Etnik Paranoia, Laute Lage im Klischee: Die neunte Kunstbiennale in Istanbul”, by Holger Liebs, Süddeutsche Zeitung, September 20, p. 19. | |
| “Super Store” by Nav Haq, ArtReview, September, p. 66-69. | |
| “Monuments for the USA” by Eve Meltzer, Frieze, June-August, p. 93. | |
| “All Aboard. End Station” by Roberta Smith, New York Times, April 1, p. E27. | |
| Flash Art, July-September, review by James Westcott, p. 74 | |
| “Elmgreen & Dragset, End Station”, by Benjamin Carlson, Time Out New York, April 28 – May 4, p. 74. | |
| 2004 | “Gläserner Sarg”, by Edgar Schmitz, Kunstforum September-October |
| “Turbulenz. Portikus Projekte 2001-2004”, Ed. Jochen Volz, Portikus, Frankfurt am Main | |
| “Watch the Birdie” by Luke Leitch, Evening Standard, May 11, p. 8. | |
| “Watch the Birdie” by Jonathan Jones, Guardian, May 12, p. 3. | |
| “Consubverting” by Jens Hoffmann, Janus 16, spring, | |
| “(Con-) Fusion Architecture”, Tema Celeste 103 | |
| 2003 | “Masser af international succes” by Torben Weirup, Berlingske Tidende, 30 September |
| “Vi skal stadig dø”, by Trine Ross, Politiken, 3 October, | |
| “New York: New Museum of Contemporary Art – Living inside the grid”, by Kim Zamet, Contemporary, No. 51, pp.82-83. | |
| “Michael Elmgreen & Ingar Dragset”, Germano Celant, Interni, No. 532, June, pp. 290-29.5 | |
| “The Spell of Venice; Ape answers art’s demands”, Fiachra Gibbons,The Guardian, June 16, p.4. | |
| “Abschied und Neubeginn im Portikus”, Frankfurter Allgemeine Zeitung, May 24, p. 57. | |
| “Die Bulldozer warten schon”, Frankfurter Allgemeine Zeitung, May 25 | |
| “Abschiedsfest zum Portikus-Abriss”, Konstanze Crüwell, Frankfurter Allgemeine Zeitung, Frankfurt am Main, Germany, p. R3 | |
| “Die Stadt als Kunstwerk. Abschied von der Kunsthalle Portikus”, Claudia Michels, Frankfurter Rundschau, May 24, Frankfurter am Main, Germany, p. 25 | |
| “Ohne Autobahn keine deutsche”, Frankfurter Allgemeine Zeitung, May 14, Frankfurt am Main, Germany | |
| “Internationale nation: Ausstellung im Frankfurter Kunstverein”, Michael Hierholzer, Frankfurter Allgemeine Zeitung, May 14, Frankfurt am Main, Germany, p. 45 | |
| “Pronto, mandante i ghisa: c’e un incidente in Galleria”, Gian Guido Vecchi, Corriere della Sera, May 9, Milan, Italy | |
| “Quella Fiat da galleria”, Riccarda Mandrini, Il manoifesto, May 9, Rome, Italy, p. 15 | |
| “Anche questa é un’ opera d´arte e Trussardi la presenta al mondo”, Alessandra Menzani, Libero, May 8, Milan, Italy, p. 19 | |
| “Trussardi prendre l´arte e la porta da ogni parte”, La Repubblica, May 8, Milan, Italy, p. 13 | |
| “Interview”, Ivanmaria Vele, Boiler, no. 1: Great Escape, Milan, Italy | |
| “Space campaigns and living work”, Lars Bang Larsen, (a-n) magazine, March Issue, London, UK, pp. 30-33. | |
| “Michael Elmgreen and Ingar Dragset at Emmanuel Perrotin”, Ellen McBreen, Art in America, New York, USA, p. 155-56 | |
| “Michael Elmgreen & Ingar Dragset. Paris Diaries”, Pierre-Evariste Douaire, Paris-Art Online, Paris, France | |
| “ShortList”, Kim Levin, The Village Voice, February 26 – March 4, vol. 78, New York, USA, p. 68 | |
| “Proveoserer i hele verden”, Dag Yngland, Adresseavisen, February 21, Trondheim, Norway, p. 26 | |
| “Sofistikerte rominvasjoner”, Camilla Eeg, Kunst, no.01, Copenhagen, Denmark, pp.58-63 | |
| “Interview”, Birger Thøgersen, Politiken, January 3, Copenhagen, Denmark, pp.1, 5 | |
| 2002 | “White on White”, Daniel Birnbaum, Artforum, April Issue, New York, USA |
| “Istanbul Biennial”, Jörg Heiser, Frieze, Jan/Feb Issue, no. 64, London, UK, p. 92 | |
| “View from Berlin – Invisible Industry”, Harald Fricke, Modern Painters, vol. 15, no. 4, New York, USA, p. 52 | |
| “Elmgreen&Dragset”, Mika Hannula, Metropolis M, Utrecht, The Netherlands, pp. 48-51 | |
| “Back to Bosphorus”, Gregory Volk, Art in America, March Issue, New York, USA, p. 44 | |
| “Kranker Mann, was nun?”, Christina Tilmann, Der Tagesspiegel, October 12, Berlin, Germany | |
| “Nur die Sonne war Zeuge”, Niklas Maak, Frankfurter Allgemeine, May 17, Frankfurt am Main, Germany, p. 48 | |
| “Krankenzimmer mit Meerblick”, Jörg Heiser, Süddeutsche Zeitung, May 17, Münich, Germany | |
| “Einer gegen Alle”, K. Wittneven, Der Tagesspiegel, May 17, Berlin, Germany, p. 27 | |
| “25.000 Euro für ein Krankenhausbett”, G.Walde, Die Welt, May 18, Berlin, Germany, p. 28 | |
| “Fünf Namen und ein Scheck”, Ingeborg Ruthe, Berliner Zeitung, Berlin, Germany, p.10 | |
| “Der markt schaut mit”, Harald Fricke, Die Tageszeitung, May 22, Berlin, Germany, p.14 | |
| “Im Krankenbett”, C.Meixner, Frankfurter Rundschau, May 28, Frankfurt am Main, Germany, p. 25 | |
| “Platsbundenhet, diskurs, nätverkande”, Mika Hannula, Paletten, no.249-250, Gothenburg, Sweden, pp. 37-41 | |
| 2001 | “Wenn sich Boden und Decke wölben”, Michael Hierholzer, Frankfurter Algemeine, March 2, Frankfurt am Main, Germany |
| “Neuer Initiationsritus”, Petra Schellen, Die Tageszeitung, October 13-14, Berlin, Germany, p. 27 | |
| “Small Twists – Bigger Splashes! A conversation with Michael Elmgreen & Ingar Dragset”, Jens Hoffmann, Trans>Arts. Cultures. Media, no.9/10, Venezuala, pp. 294-304 | |
| “Michael Elmgreen & Ingar Dragset. Klosterfelde”, Jennifer Allen, Artforum, October Issue, New York, USA, pp. 167-168 | |
| “Pferdeposter im staatlichen Elend”, Axel John Wieder, Die Tageszeitung, July 12, Berlin, Germany, p. 17 | |
| “Material 5”, Borderline, Gianni Jetzer, pp. 89-91. | |
| “Auf gleicher Wellenlänge”, Vanessa Joan Müller, Texte zur Kunst, June Issue, no. 11, Berlin, Germany, pp. 182-184 | |
| “Blick auf die Erdkugel”, Christian Huther, Osnabrücker Zeitung, June 15, Osnabrück, Germany | |
| “Der Luxus der Leere”, Katrin Bettina Müller, Die Tageszeitung, May 11, Berlin, Germany, p. 22 | |
| “NATO-Kunst”, Silke Hohmann, Journal Frankfurt, May Issue, p. 47, Frankfurt am Main, Germany | |
| “Exhibition mixes art and architecture”, Christine Temin, The Boston Globe, February 20, Boston, USA | |
| “Heute in den verbeulten Portikus”, Frankfurter Rundschau, February 20, Frankfurt am Main, Germany | |
| “In der wei§en Zelle schwingt nun die Frankfurter Welle”, Rudolf Schmitz, Frankfurter Allgemeine Zeitung, February 14, Frankfurt am Main, Germany | |
| “Der Kunstcontainer wird zur Raumskulptur”, Gabriele Nicole, Frankfurter Neue Presse, February 6, Frankfurt am Main, Germany | |
| “Home is where the cliches aren’t. Visual Arts”, Joanne Silver, Boston Herald, February 2, Boston, USA | |
| “Huch”, Sandra Danicke, Frankfurter Rundschau, March 2, Frankfurt am Main, Germany | |
| 2000 | “Art text, no. 71”, Manifesta 3, p. 83. |
| “Has the title stolen the show?”, Sara Arrhenius, Nu: The nordic art review, vol. II, no. 5, Stockholm, Sweden, pp. 78-79 | |
| “Auf den zweiten Blick”, Sabeth Buchmann, Texte zur Kunst, September Issue, no. 39, Berlin, Germany, pp. 200-203 | |
| “Wegen Umbau Geöffnet”, Martin Pesch, Frankfurter Rundschau, Frankfurt am Main, Germany | |
| “Art Beats”, Nick Dent, Blue Magazine, no. 25, Australia | |
| “Best Of 2000”, Daniel Birnbaum, ArtForum, December Issue, New York, USA | |
| “White Out”, Lars Bang Larsen, Frieze, no. 53, London, UK | |
| “Aperto: Performance”, Jens Hoffman, Flash Art, no. 214, Milan, Italy | |
| “Review”, Andreas Schlägl, Flash Art, no. 212, Milan, Italy | |
| 1999 | “A Fireplace in Harlem”, Lawrence Chua, Art/Text, Aug/Oct Issue, no. 66, Los Angeles, USA |
| “Review”, Bill Arning, Art in America, November Issue, New York, USA, pp. 163-164 | |
| “Review”, Franklin Sirman, Nu: The nordic art review, Issue no. 1/99, Stockholm, Sweden | |
| “Nordic Normads”, Gregory Wiliams, Frieze, no. 45, London, UK | |
| “Review”, Holland Cotter, The New York Times, Februar 19, New York, USA | |
| “Melting the ice”, Alan Jolis, ArtNews, January Issue, New York, USA | |
| “Berlin Biennale”, T. Wulffen, Kunstforum International, Cologne, Germany | |
| “Review”, Bill Arning, Honcho, June Issue, USA | |
| 1998 | “Louisiana Exhibition”, Alexandre Melo, ArtForum, March Issue, New York, USA |
| “Junge Szene”, Ruth Mauer, Springerin, Sept/Nov Issue, Vienna, Austria | |
| “Momentum”, Andrea Kroksnes, Springerin, Sept/Nov Issue, Vienna, Austria | |
| “Drau§en und Drinnen”, Michael Hübl, KunstForum International, Münich, Germany | |
| “Nuit Blanche”, Sophie Berrebi, Frieze, no. 40, London, UK | |
| “Beyond the local context”, Lotte Sandberg, Siksi, no. 3-4, Helsinki, Finland | |
| 1997 | “Powerless Structures”, Lars Bang Larsen, Frieze, no. 34, London, UK |
| “Review”, Terry S. Meyers, Art/Text, no. 60, Los Angeles, USA | |
| “Alternative Learning”, Lars Bang Larsen, Documents sur l’art, no. 11, Dijon, France |
Permanent Installations
| 2021 | Life Rings, Djugården Park Stockholm, Stockholm, Sweden Livredderen, Vestamager Swimming Hall, Tårnby, Denmark |
| 2020 | The Hive, Monynihan Train Hall, New York, USA Pool, No. 8, Gangnam, Seoul, South Korea |
| 2019 | Bent Pool, Pride Park, Miami Beach Convention Center, Florida, USA Point of View, Kistefos Museum, Jevnaker, Norway |
| 2018 | Statue of Liberty, Hamburgher Bahnhof, Berlin Forventning, Trondheim, Norway Zero, East Asiatic, Bangkok |
| 2017 | Dilemma, Ekebergparken, Oslo, Norway |
| 2015 | Too Late, ARoS, Aarhus Museum of Art, Aarhus, Denmark Magic Mushrooms, DOKK1, Aarhus, Denmark |
| 2013 | The Weight of Oneself, Banks of the River Saone, Lyon, France |
| 2012 | Powerless Structures, Fig. 101, first exhibited at Fourth Plinth Commission, Trafalgar Square, London, UK (permanently installed at Arken Museum of Modern Art, Ishøj, Denmark since 2016) HAN, Helsingør, Denmark |
| 2008 | Gedenkort für die im Nazionalsozialismus verfolgten Homosexuellen, Berlin, Germany |
| 2007 | Ti sto pensando, Villa Manin, Centre for Contemporary Art, Passariano, Italy |
| 2005 | Prada Marfa, Marfa, US |
Public collections
| Arken Museum for Moderne Kunst, Ishøj, Denmark Aïshti Foundation, Beirut, Lebanon Anyang Foundation for Culture & Arts, Anyang, South Korea |
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| Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway ARoS, Aarhus Art Museum, Aarhus, Denmark Art Production Fund/Ballroom Marfa, Marfa, USA |
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| Ballroom Marfa / Art Production Fund / Elmgreen & Dragset, Chihuahua Desert, Highway 90 leading into Marfa, Texas, USA | |
| Bundesrepublik Deutschland, Tiergarten, Berlin, Germany | |
| Centro de Artes Visuales Helga de Alvear, Cáceres, Spain Chazen Museum of Art, Madison, USA |
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| CGAC, Centro Galego de Arte Contemporáneo, Santiago de Compostela, Spain | |
| Colombus Museum of Art, Ohio, USA | |
| DAIWA Radiator Factory, Hiroshima, Japan | |
| DekaBank-Kunstsammlung, Frankfurt am Main, Germany Denver Art Museum, Denver, USA Dokk1, Aarhus, Denmark The Donum Estate, Sonoma, USA |
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| Ekebergparken Sculpture Park, Oslo, Norway Espo Museum of Modern Art, Espoo, Finland Ellipse Foundation, Alcoitâo, Portugal European Central Bank, Frankfurt am Main, Germany Equinor Art Programme, Stavanger, Norway |
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| Fondation Emerige, Paris, France Fondazione Morra Greco, Naples, Italy Fondazione Prada, Milan, Italy |
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| Fonds National d’art Contemporain, Paris, France | |
| Fundación ARCO, Madrid, Spain Fundación Jumex Arte Contemporáneo, Mexico City, Mexico Fukutake Art Museum Foundation, Naoshima, Japan Galerie Orangerie-Reinz, Köln, Germany |
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| Hamburger Bahnhof, Berlin, Germany | |
| Horsens Kunstmuseum, Horsens, Denmark Hyundai Card, Seoul, South Korea |
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| Initial Access Frank Cohen Collection, Wolverhampton, UK | |
| The Israel Museum of Modern Art, Jerusalem, Israel | |
| K11 Art Foundation, Hong Kong KAT_Kunst am Turm, Bad Honnef-Rhöndorf, Germany Kistefos-Museet, Jevnaker, Norway Kode Art Museums, Bergen, Norway |
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| Kunsthalle Praha, Prague, Czech Republic Kunsthalle Bremen, Bremen, Germany Kunstmuseum Krefeld, Krefeld, Germany Kunstverein Springhornhof, Neuenkirchen, Germany Kunsten, Museum of Modern Art, Aalborg, Denmark Kunstneriske Forstyrrelser, Tranøy, Norway Københavns Billedkunstudvalg, Copenhagen, Denmark KØS – Museum of Art in Public Spaces, Køge, Denmark |
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| Landbrukshøgskolen på Ås, Norway | |
| Landesmuseum Münster, Münster, Germany Leeum Samsung Museum of Art, Seoul, South Korea |
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| Louisiana Museum of Contemporary Art, Humlebæk, Denmark | |
| Lufthansa Aviation Center, Frankfurt am Main, Germany | |
| LWL – Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster, Münster, Germany | |
| Malmö Konstmuseum, Malmö, Sweden | |
| The Margulies Collection, Miami, USA | |
| MCA Museum of Contemporary Art, Chicago, USA me Collectors Room, Berlin, Germany |
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| Migros Museum, Zurich, Switzerland | |
| Moderna Museet, Stockholm, Sweden | |
| MUMOK Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria MUSAC (Museo de Arte Contemporáneo de Castilla y León), León, Spain |
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| Musée national d’art moderne, Centre Georges Pompidou, Paris, France | |
| Museion- Museum of Modern and Contemporary Art, Bolzano, Italy | |
| Museum Folkwang (semi-permanent loan from Sammlung Olbricht), Essen, Germany | |
| Museum Kurhaus Kleve (semi-permanent loan from Sammlung Plum) Museum Hof van Busleyden, Mechelen, Belgium Museum Voorlinden, Wassenaar, Belgium Museum of Contemporary Art, Roskilde, Denmark Museum für Moderne Kunst, Frankfurt am Main, Germany Museum Morsbroich, Leverkusen, Germany Museum of Contemporary Art Chicago, Chicago, USA |
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| Nasjonalmuseet for Kunst, Arkitektur og Design, Oslo, Norway | |
| National Gallery of Canada, Ottawa, Canada Nevada Museum of Art, Reno, USA |
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| Nordland Fylke, Tranøy, Norway Nicola Erni Foundation, Zug, Switzerland |
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| Park of the School of Agriculture, Ås, Norway Pinakothek der Moderne, Munich, Germany |
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| Saastamoinen Foundation, Helsinki, Finland Sammlung Christian Boros, Berlin, Germany |
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| Sammlung Goetz, Munich, Germany | |
| Sammlung Haubrok, Berlin, Germany | |
| Sculpture International Rotterdam, Rotterdam, The Netherlands Soho House, London, UK |
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| Statens Museum for Kunst, Copenhagen, Denmark Staatliche Kunstsammlung Dresden, Dresden, Germany Städel Museum, Frankfurt am Main, Germany Stiftung Denkmal, Berlin, Germany Sunpride Foundation, Hong Kong |
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| Taguchi Art Collection, Japan Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria Tel Aviv Museum of Art, Tel Aviv, Israel The Israel Museum, Jerusalem, Israel Trondheim Kunstmuseum, Trondheim, Norway |
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| Verbrandt-Vanhaerents, Brussels, Belgium Zabludowicz Collection, London, UK |
