Superflex, artist trio

Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen.

Superflex are an artist trio that create playful interactions with a frequent focus on political activism.

Key ideas and concepts - Participation, artworks as tools

Tate Modern Turbine Hall, One Two Three Swing!

"Each swing has been designed for three people by Danish artists’ collective SUPERFLEX. Swinging with two other people has greater potential than swinging alone and One Two Three Swing! invites us to realise this potential together. Swinging as three, our collective energy resists gravity and challenges the laws of nature" (tate.org.uk)

"As Fenger explains: "It creates opportunities when you do things together. Most things are done collectively. The world is full of too many single swings."" (bbc.co.uk)

The piece One Two Three Swing! makes a comment on collective power and human interaction. By allowing three people to use each swing there is a greater force created by their participation

"One Two Three Swing! invites the audience to activate the potential power of play and explore the possibilities of collaboration between people" (superflex.net)

The trio consider deeper reflections that may be made through interaction with the artwork about topics such as democracy, collective action and social connectivity. However, this feels problematic in that the likelihood of these reflections being made depends on many other variables. If Superflex's aim is for their audience to make these connections to social issues then this artwork risks being considered unsuccessful. Having experienced this artwork myself I felt that the response from the participants was more instinctively about the act of play and the physical feelings of swinging and being in the space.

The political nature of my own artwork is of key importance. For this reason I am making my snakes and ladders piece as clear as possible. This way I know that my message is being received by the audience.

One Two Three Swing! does also attempt to attract wider audiences and entice people into Tate Modern by extending the installation outside the building. One of the orange pipes comes out from the wall and connects to more of the orange and grey pipe structure. However, there is no swings in the outside part of this installation and therefore the main point of the artwork is lost on those who do not enter into the building.