EDIFIED by institutions in Denmark and the United Kingdom respectively, these two male, white, living humans have been reared within educational establishments and cultivated with support from cultural agencies in ways that have enabled them to create objects for display in museums and similar spaces,  or to teach in similar institutions as they were schooled in themselves.

Typically, value is assigned to their production, whether classified as artistic, intellectual or social, either through exhibitions held in institutions of display, or according to criteria established by committees of bureaucrats and representatives affiliated with the selfsame institutions. These individuals are largely dependent on the approval of such committees to make their living and for their continued production to be commissioned, financed, displayed and housed.

This work borrows its detailing and materiality from vitrines that Kaare Klint designed for The Museum of Art and Design in Copenhagen, when it was first established in the former Frederick’s hospital building in 1926. Klint designed a museum display system that echoed the modular structure and contamination-limiting function of the hospital wards.

Kaare Klint is often referred to as a ‘father’ of Danish modernism. His principle of stripping down and mutating inherited classical forms, rather than radically rejecting history, distinguished Danish modernism from other more revolutionary currents within modernism, like the Bauhaus.

This is one of a series of mutations of Klint’s museum furniture,in which the standardised proportions and details are specifically adapted to its contents, and the glass has been removed so that two human bodies are accommodated  within the institutional framework through the provision of spaces that control and frame three authorized human body postures:  sitting, standing and lying  down.