SUPERFLEX was founded in 1993 by Jakob Fenger, Bjørnstjerne Christiansen and Rasmus Nielsen. With a diverse and complex practice, SUPERFLEX challenges the role of the artist in contemporary society and explores the nature of globalization and systems of power. They are known for art works with wit and subversive humor that address serious social and cultural concerns. SUPERFLEX describe their works as tools - thereby suggesting multiple areas of application and use. 

With projects engaging alternative models for the creation, dissemination and maintenance of social and economic organization – such as Copyshop (2005), Guaraná Power (2003) and Free Beer (2004) – SUPERFLEX has become involved in legal disputes and been subject to prohibition orders and police raids related to their artistic use of commercial signs and symbols. Finding that the restrictions placed on their work sometimes led to unexpectedly interesting results, SUPERFLEX began to explore the productive potential of prohibition. SUPERFLEX conceived a series of projects structured to impose regulations on others, including the Corruption Contract (2009).

Working in and outside the physical location of the exhibition space, SUPERFLEX has been engaged in major public space projects since their award-winning urban park Superkilen opened in 2011. SUPERFLEX is currently engaged in a collaboration for series of plant nurseries in hospitals on the Comoro Islands and a 6-year long commission for a new Metro station in Paris. In their most recent films, SUPERFLEX has addressed the forensic analysis of fake historical paintings in The Parley (2016), the outermost border of the EU in the Comoro Islands and its influence on migration in Kwassa Kwassa (2015), and a gigantic bearded vulture living in the Alps named “Pablo” in The Return of Pablo (2017).

SUPERFLEX’ practice is, as the name suggest, not bound to any form or context.

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