Dan Wolgers was born in Stockholm, in 1955. He studied at the Kungliga Konsthögskolan (Royal Institute of Art), Stockholm (1980-1985), the Grundskolan för konstnärlig utbildning, Stockholm (1978-1979) and the Nyckelviksskolan, Lidingö (1977-1978). Later in life, he shared his insights with future generations of Swedish artists, teaching at the Kungliga Akademien för de fria konsterna (Royal Swedish Academy of Fine Arts, Stockholm, 1995-1998) and Konstfack, the University College of Arts, Crafts and Design (1993-1995), in the same city.
Wolgers is an infamous figure in contemporary Swedish conceptual art. Although well known, he is not well liked, with most of the public considering that he embodies the elitist excesses of the contemporary art world. The artist has deliberately cultivated such an image, however.
Indeed, in 1991, he commissioned an advertising agency to mount an exhibition ‘in his name’, not supervising one single aspect of their proposal, discovering it as a visitor on opening night. In 1992, he pushed the envelope even further when recruited to redesign the Swedish phone book. The only name and number the updated volume featured was his own. He apparently received many angry calls as a result. The final incident happened a few months later when, rather than create anything for a group exhibition he had been invited to take part in, he stole a few of the works, as well as items from the venue such as benches, which he sold to the Stockholm Auction House. Wolgers’ only contribution to the exhibition in question was a plaque with his name on it. He was tried and found guilty for his mischief at the end of an absurd trial, the verdict of which was sold by the artist – still sealed in its original envelope – to a Norwegian collector.
Even if not everyone is receptive to his admittedly unique brand of humour, it is a mainstay of his practice and has helped the artist carve out his own niche in the contemporary scene. Wolgers considers art less as production and more as a social and mechanical device. Hence, perhaps, his later evolution towards machine-based works, which further deepen the reflection on productivity and the expected results, which the artist has sought to subvert throughout his entire career. Whether in the machine or in art, Wolgers has chosen to be a cog.
Early shows (1980s) include: Galerie Aronowitsch, Stockholm; Anders Tornberg Gallery, Lund; Galleri Lars Bohman, Stockholm; Galleri Riis, Oslo, Norway and Stockholm; Arnstedt & Kullgren, Östra Karup; Galleri Magnus Karlsson, Stockholm; Bohman-Knäpper, Stockholm.
Recent solo exhibitions include: A–O/Nattfiskare, Bohman-Knäpper, Stockholm (2017); Ej funktionstestad, (together with Jockum Nordström), Karlskrona konsthall (2016); Egentligheter (together with Lena Andersson), Spritmuseum, Stockholm (2016); En verklighet (drömd), Market Art Fair, Liljevalchs, Stockholm (2015); I olivlunden/In the Olive Grove, Galleri Magnus Karlsson, Stockholm (2014); En metautställning, Galleri Magnus Karlsson, Stockholm (2013); En annan sorts sammanfattning, Ateljén, Konstakademien, Stockholm (2013); De Profundis, Galleri Riis, Stockholm (2013); Det stängda paradisets portar, Galleri Riis, Stockholm and Oslo (2011); Varbergs konsthall, Varberg (2010); Galerie Aronowitsch, Stockholm (2010); Krognoshuset, Lund (2010); Sturehof, Stockholm (2010).
Wolgers has enjoyed two major retrospectives, one at Liljevalchs Art Hall, Stockholm (2001), the other at Spritmuseum, Stockholm (2016).
Wolgers lives and works in Stockholm.
