Projects
- The Campaign (1994) – An early conceptual project in which members of Superflex posed as businessmen and invited companies in southern Jutland to participate in fictitious product presentations. The work adopted the conventions of corporate meetings and product marketing, reflecting the collective's early interest in mimicking and examining business culture.
- Supergas (1996–1997) – An initiative to develop small biogas systems for cooking and lighting in rural areas. Working with African and European engineers, Superflex tested an early system on a farm in Tanzania in August 1997.
- Superchannel (1999) – An internet television platform intended to allow communities and other groups to produce and broadcast their own programmes. Activities associated with the project included Tenantspin, developed with residents of Liverpool tower blocks and the Foundation for Art and Creative Technology.
- Supercopy/Biogas PH5 Lamp (2002) – A redesign of Poul Henningsen's PH5 lamp to operate on biogas rather than electricity. Exhibited at Rooseum in Malmö, it led to a copyright dispute with the lamp's commercial manufacturer. The project connected Superflex's interest in energy technologies with its examination of intellectual property.
- Foreigners, Please Don't Leave Us Alone With the Danes! (2002) – A poster and wall-painting project using the English-language slogan as a response to Denmark's immigration debate. The work subsequently circulated in multiple forms, including reprinted posters.
- Free Shop (2003) – An intervention staged in existing shops in which customers unexpectedly found that the price of their purchases had been reduced to zero. A version was presented in Tokyo as part of the Mori Art Museum's inaugural exhibition Happiness.
- Guaraná Power (2003) – A collaborative project with guaraná farmers in Maués, Brazil, to produce and market a soft drink as an alternative to the purchasing arrangements of large beverage companies. It included product design, advertisements and exhibitions.
- Social Pudding (2003) – A collaboration with artist Rirkrit Tiravanija involving the production and sharing of pudding during participatory events. The work was first presented at the Galerie für Zeitgenössische Kunst Leipzig and subsequently staged elsewhere.
- Free Beer (2004–) – Developed with students at the IT University of Copenhagen as Vores Øl ("Our Beer"), the project applied free and open-source principles to a physical product. The beer's recipe and visual identity were made available for reuse under a Creative Commons licence. Later versions circulated under the name Free Beer.
- Copyshop (2005) – A project investigating copying, copyright and intellectual property through a shop and information platform. The project provided a setting for experiments with reproductions and the circulation of copyrighted images and commodities.
- Copy Right (2006) – A work in which mass-produced imitation versions of Arne Jacobsen's Ant Chair were modified to resemble the original design more closely. First developed in 2006 and exhibited in Los Angeles in 2007, it explored the legal and cultural distinctions between original designs and copies.
- Rebranding Denmark (2007) – An LED-based animation showing the Danish flag burning. The work addressed the changing international symbolism of the flag in the aftermath of the controversy over the publication of Muhammad cartoons in Denmark.
- Burning Car (2008) – An eleven-minute film showing a car burning in real time. Filmed with the visual conventions of commercial advertising, the work concerns the destruction and circulation of images associated with automobiles and political protest.
- Blackout (2009) – An installation created in collaboration with British artist Simon Starling at Kunsthallen Brandts in Odense, Denmark. Inspired by a blackout lamp designed by Poul Henningsen for Copenhagen's Tivoli Gardens during World War II, the artists established a metal workshop inside the exhibition space. More than 70 lamps were produced and installed over three months, gradually illuminating the initially darkened galleries. The project examined the reproduction of design objects, authorship and intellectual property.
- Flooded McDonald's (2009) – A film in which a life-size replica of a McDonald's restaurant gradually fills with water. First exhibited at the South London Gallery, the work was discussed by critics in relation to consumer culture, climate change and disaster-film imagery.
- The Financial Crisis (Session I–IV) (2009) – A film made for Frieze Film 2009, using a hypnotist and four sessions to explore anxiety, financial loss and concepts associated with global capitalism. It was also broadcast as part of Channel 4's 3 Minute Wonder programming.
- 2000 Watt Society Contract (2010) – A public artwork installed on the façade of a residential building in Zurich, Switzerland. Inspired by the concept of the 2000-watt society, the work takes the form of an oversized contract between the building's residents and the rest of the world, setting out a commitment to reduce energy consumption and stipulating compensation if the agreement is not fulfilled. The project was discussed in the 2016 exhibition WEtransFORM at the Neues Museum in Nuremberg as an example of artistic approaches to sustainable design.
- Power Toilets (2010–) – A series of functional public toilets reproducing interiors from restricted spaces associated with political and financial institutions. The first version, installed at Park van Luna in Heerhugowaard, reproduced facilities used by the United Nations Security Council in New York.
- Free Sol LeWitt (2010) – A workshop at the Van Abbemuseum in Eindhoven that fabricated and distributed free copies of Sol LeWitt's Untitled (Wall Structure) (1972). It examined reproduction, ownership and the relationship between a museum collection and its public.
- Modern Times Forever (Stora Enso Building, Helsinki) (2011) – A 240-hour film depicting the imagined decay of a modernist building designed by Alvar Aalto. Presented on a large outdoor screen in Helsinki's Market Square, the film enabled viewers to see the building and its fictional transformation simultaneously.
- I Copy Therefore I Am (2011) – A print series appropriating Barbara Kruger's 1987 artwork Untitled (I Shop Therefore I Am), replacing the word "shop" with "copy" while retaining the original composition and graphic style. Developed in connection with Superflex's earlier Copyshop project, the image had previously appeared on T-shirts before a large-format vinyl version was presented by Copenhagen gallery Nils Stærk at Art Basel in 2011. The work addresses appropriation, originality and intellectual property, questioning conventional distinctions between originals and copies.
- Superkilen (2012) – An urban park in Copenhagen's Nørrebro district developed with Bjarke Ingels Group and Topotek1. Its design drew upon contributions from local residents, including proposals for street furniture and objects associated with countries represented in the neighbourhood.
- Oil Fountain (2012) – A permanent public sculpture on Risøy in Haugesund, Norway, depicting a bronze oil barrel apparently suspended in mid-air by an endless stream of oil flowing onto the ground. Developed as part of the Dynamo-Haugesund public art initiative, the work refers to the city's economic dependence on the petroleum industry.
- Bankrupt Banks (2012–) – An ongoing series of installations documenting banks that failed or were acquired during and after the financial crisis of 2007–2008. An early version, exhibited at Peter Blum Gallery in New York in 2012, consisted of 24 banners displaying the logos of affected banks without their names. Later versions included black panels listing failed financial institutions, resembling memorial walls. The work was also featured in Superflex's 2013 retrospective at Kunsthal Charlottenborg in Copenhagen.
- The Bank (2013) – A temporary urban park made for the Sharjah Biennial, including benches, swings, a volleyball court and other street furniture selected with input from local residents. An Architectural Record review discussed the work in relation to the area's immigrant communities and shortage of accessible public space.
- Hospital Equipment (2014–) – A series of installations consisting of functional surgical equipment exhibited as art before being transferred to hospitals in conflict zones. The first version, presented at Den Frie Centre of Contemporary Art in Copenhagen in 2014, included an operating table and surgical lamps that were subsequently delivered to Al-Shifa Hospital in the Gaza Strip. A second version, exhibited at von Bartha in S-chanf, Switzerland, in 2017, supplied equipment to Salamieh Hospital in Syria. The project challenged conventional notions of the readymade, art ownership and collecting, with purchasers receiving photographs and certificates rather than the equipment itself. Art critic Greg Allen questioned the relationship between the project's humanitarian objectives and the economic structures of the art market.
- Kwassa Kwassa (2015) – A 19-minute film co-directed with Tuan Andrew Nguyen, documenting the construction of boats on Anjouan in the Comoros and examining migration across the maritime border to Mayotte. It was included in the 2016 International Film Festival Rotterdam.
- Superfake/The Parley (2016) – An exhibition and research project at the Arizona State University Art Museum in Tempe, Arizona, examining a painting from the museum's collection previously attributed to Frederic Remington. Scientific analysis revealed that the painting, known as The Pioneer and the Indian, was a later copy of Remington's The Parley. Superflex presented the findings through an installation resembling a research laboratory, incorporating X-ray and infrared images, documentation of the painting's provenance and a slow-motion film recreating the depicted encounter between a settler and a Native American. The project explored questions of authenticity, reproduction, historical mythology and the value assigned to artworks. A subsequent version was presented at Lunds konsthall in Sweden later that year.
- The Nursery Garden (2017) – A collaborative public art project consisting of medicinal-plant nurseries in the courtyards of three hospitals in Saint-Denis and Saint-Pierre on Réunion and Mamoudzou on Mayotte. Developed with local partners, including landscape architect Sébastien Clément, the gardens provided spaces for patients, hospital staff and visitors to cultivate plants and exchange knowledge about traditional and contemporary medicine. The project was featured in the 2017–2018 exhibition What Does Art Do at Hospitals? at the KØS Museum of Art in Public Spaces in Denmark.
- One Two Three Swing! (2017) – An installation commissioned for the Turbine Hall at Tate Modern in London, consisting of a large suspended pendulum, a striped carpet and linked three-person swings. The swings encouraged coordinated participation and extended beyond the gallery building.
- Dive-In (2019) – A sculptural and cinematic installation presented at Desert X in California's Coachella Valley. The project linked a drive-in cinema in the desert with a counterpart installed underwater off the Pacific coast. Visitors watched footage of marine life occupying the submerged structure, connecting the conventions of American car culture with the creation of artificial marine habitats and concerns about environmental change.
- It Is Not the End of the World (2019) – An immersive installation at Cisternerne, a former underground water reservoir in Copenhagen. Visitors wearing rubber boots moved through partially flooded chambers containing a reconstruction of bathroom facilities from the headquarters of the United Nations Framework Convention on Climate Change and an illuminated blue sign displaying the phrase "It Is Not the End of the World". The installation imagined a future transformed by climate change, combining elements of Superflex's earlier projects Flooded McDonald's and Power Toilets. Cultural geographer Rachel Hann subsequently analysed the work as an example of environmental scenography, examining how its spatial and sensory design challenged human-centred perceptions of the world.
- Après Vous, Le Déluge (2019) – A permanent light installation commissioned for the Galeries Lafayette store on the Champs-Élysées in Paris. Consisting of blue sculptural elements forming a broken horizontal line around the building's atrium, the work represents a projected future sea level associated with climate change. Its placement within a luxury department store draws attention to the relationship between consumption and environmental consequences. The title references the expression "Après moi, le déluge" ("After me, the flood"). Art critic Alexandre Crochet subsequently discussed the installation in relation to recurring imagery of flooding in Superflex's work, particularly Flooded McDonald's.
- Like a Force of Nature (2020) – A sculptural installation combining the colours of national currencies with patterns based on the Fibonacci sequence. Developed in collaboration with Mexican designer Héctor Esrawe, an initial version was installed on the ceramic façade of the ARCA Wynwood Design Center in Miami in 2020. A subsequent version, exhibited at Nils Stærk Gallery in Copenhagen in 2021, consisted of seven sculptural structures covered in glazed ceramic tiles. Art critic Lisbeth Bonde interpreted the work as an examination of the relationship between natural growth patterns and the expansionary logic of capitalism.
- Interspecies Assembly (2021) – A public art project first presented in New York during the 76th session of the United Nations General Assembly. It comprised a sculptural meeting place in Central Park and Vertical Migration, an animated film depicting a deep-sea siphonophore projected onto the United Nations Secretariat Building. The project was subsequently presented in Copenhagen and other locations.
- Beyond the End of the World (2021) – A two-channel film installation depicting a world after the disappearance of humanity. One screen follows a dog wandering through abandoned infrastructure, while the other shows decaying bathroom facilities modelled on those of the United Nations Framework Convention on Climate Change. The film was presented alongside a site-specific ceramic installation at the Institute of Contemporary Art San Diego in 2024.
- All That We Know (2021) – Six outdoor sculptures resembling broccoli, carrot, garlic, pear, potato and strawberry, commissioned for Herlev Hospital in Denmark. The forms were designed with reference to MRI scans of the produce and evoke changing ideas about traditional remedies and scientific knowledge.
- Play Contract (2021) – A public art project in Billund, Denmark, developed with KWY.studio and 121 local children. The children designed models for spaces encouraging adults and children to play together, which were subsequently developed into five large sculptures made from approximately 300 blocks of pink marble. A "play contract" engraved into the sculptures asks adults to abandon conventional notions of time and follow children's approaches to play. Installed in Billund Sculpture Park, the work was created to mark the tenth anniversary of the city's Capital of Children initiative.
- As Close As We Get (2022) – A group of modular sculptures installed in Copenhagen Harbour, developed with researchers at the Technical University of Denmark. The above-water artworks also serve as experimental underwater habitats for fish and other marine life.
- Interspecies Campus (2022) – A series of eight pink brick sculptures created for Roskilde University in Denmark, with workshops involving university staff and students. The work includes a proposed contract for human encounters with other species and was subsequently discussed in academic research on participation and utopian learning.
- All Is Water (2023) – An experimental film addressing marine consciousness and the relations between human-built structures and fish. It incorporates footage of a scientific study of fish behaviour in Corsica and a speculative computer-generated narration.
- Super Metro (2024) – A permanent installation at Havneholmen station on the Copenhagen Metro's M4 line. Familiar elements of the station, including information screens, benches, rubbish bins and ticketing equipment, were mounted on walls and ceilings in unexpected orientations, while clocks run forwards and backwards at varying speeds. Integrated into the station's architecture, the work explores perceptions of gravity, time and space, transforming an ordinary commuter environment into an experience reminiscent of science fiction.
- Superbrick Factory (2024) – A working installation first presented at Museum Jorn in Silkeborg, Denmark, in which curved, pink bricks made from unfired clay were produced and assembled into gradually expanding sculptural structures. Designed with openings and irregular forms intended to accommodate plants and animals, the bricks challenged conventional architectural geometry and ideas of permanent preservation. The installation also referenced the architectural visions of Asger Jorn and Jørn Utzon for a new museum in Silkeborg. Art critic Lars Svanholm discussed the work's evolving construction and relationship to the museum's history in a contemporary exhibition review.
- Superconversation (2024) – An audio installation produced for Museum Jorn in Silkeborg. Using generative artificial intelligence and synthetic voices, the work presented a fictional discussion among historical artists and other figures represented in the museum's collection about the future of museums.
- There Are Other Fish In The Sea (2026) – A site-specific installation in the courtyard of Palazzo Strozzi in Florence, Italy, consisting of eight pink travertine columns made from modular, irregularly shaped blocks and surrounded by a reflecting pool. Conceived as potential habitats for marine life in a future affected by rising sea levels, the structures established a dialogue with the Renaissance architecture of the courtyard. The work also referenced the 1966 flood of the Arno in Florence, questioning human-centred approaches to architecture and public space.
- Al Majarrah Park (2026) – A redesigned public park in Sharjah produced with Schul Landscape Architects and KWY.studio. The project incorporated sculptures derived from everyday objects selected for their personal significance by local residents; the redesigned park opened on 21 May 2026.
- Fish Ping-Pong (2026) – A functional table-tennis sculpture made of pink Cantera stone, presented as part of the Public Art Fund exhibition Between Tides at Rockaway Beach in Queens, New York. Inspired by Brutalist housing blocks, the structure features two holes in the playing surface and geometric openings in its base. The design combines recreational use with the possibility of providing habitats for marine organisms if submerged by rising sea levels.