A mindset that simply wants art to complement the wallpaper and soft furnishings will no doubt fail to appreciate the output of the duo behind The Art Collective Based On The Theory of Disruption. However, those demanding art with a bit of meatiness, a message of some sort will relish the multimedia toils of Carl Henning Lennart Danger Dack and Anders Gottlieb-Nygaard.

First meeting in 1995, in Vaduz, Lichtenstein, after they both helped to stop a bag-snatching incident in the street, Carl and Anders have since been doing their own inimitable thing: “Each project is treated as a separate process, and we convert the thinking to the medium best suited for the thought,” explains Anders. “We’re not tied down to one execution.” He adds that in recent work they have used “a polyphonic acappella songs and a physical language that is at once cunning, underhand and poetic” to create what he calls “a unique universe – a distinctive mixture of disruptive dance movements and theatre, film and lighting combined with a luxuriously dark and absurdist humour”.

Recent images including those shown at a debut London exhibition at Brick Lane’s Bodhi Gallery in February show them perched on toilets in fields. “One of the ideas we were working on for the February exhibition was the attitude towards the monarchy and organic dynamic shapes,” recalls Anders. “The toilet became the porcelain throne and a channel for attention.” Quips aside, The Art Collective Based On The Theory of Disruption is an attempt to push things along in a necessarily confrontational manner: “We believe in a destructive attitude towards the progress of creating art,” explains Anders. “And limitations are the best starting point. We don’t try to find the final solution or create the ultimate picture.

We constantly try to construct new limitations, forcing the brain to think, never landing on conformity. Without confrontation you will never succeed in anything in life, not even masturbation. The success lies in the friction.”

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