Alexander Tovborg contributed a series of ‘altar’ or ‘communion’ breads to M.M.S.#1. Each altar bread features an original drawing by the artist printed onto its surface, called Dea Madonna. The drawing depicts a Madonna with child, in which the Madonna holds a baby girl in her arms, rather than a baby boy. The bread, which represents the Holy Communion in Christianity, becomes the means for a new kind of communion, where women are represented as both Holy and the givers of new life and beginnings. The breads are produced at Ostificio Domus, a specialist altar bread bakery in southern Italy.

Continuing the artist’s ongoing investigation into the subjective perception and understanding of reality and social agreements such as time and space, Alicja Kwade contributed a number of brass clock hands. For the site-specific work, the collector integrates the bare walls of a room into the work and arranges the clock hands at eye level in consecutive order along the wall. Each clock hand represents one hour, through which one can literally measure space in time. Contained within a small box, the artwork is accompanied by an instruction manual which will give directions on installing the work.

Known for the use of repeated 8.7 cm stripes in his work, Daniel Buren created a set of white and colored wooden square parallelograms (8.7 cm * 8.7 cm * 1.5 cm) for his contribution to M.M.S.#1. The magnet fixed on one side will allow the parallelograms to be juxtaposed and become a playful sculpture.

Hesselholdt & Mejlvang contributed a white embroidered handkerchief which will display the statement The hopelessness of hope in their own handwriting. Commenting on the current global situation of Covid-19, Hesselholdt & Mejlvang’s work reflects on contrasting feelings of hope, despair and resilience.

Jenny Holzer’s work uses language to attend to things social and political. For M.M.S.#1, she contributed custom-made condoms featuring a Walt Whitman fragment, TENDERLY I WILL USE YOU, that appears on pavers she designed for the New York City AIDS Memorial. The statement is a call for people to love one another regardless of differences with care and respect. Each box will include ten condoms providing an option to enact the message while keeping a few condoms as art objects.

Inspired by one of his first watercolours, which depicted a pair of red socks, Jeppe Hein created a pair of custom-designed red socks made of recycled and organic materials for his contribution to M.M.S.#1. For Hein, who wore only red socks for over a year, the colour red corresponds to both the colour of the earth and the red root chakra. Therefore, red socks act as a reminder to stay grounded, positive and present in the world, right here and right now. The words RIGHT HERE and RIGHT NOW will be written in blue – another colour that plays a major role in his artistic work – on the ends of the left and right socks respectively, further aiding the wearer in feeling rooted and present.

Katharina Grosse is known for her large-scale paintings, spraying unmixed colors directly across objects, architectural structures or landscapes. For M.M.S.#1, Grosse contributed a unique, miniature sculpture for each box. Grosse has made the works by crumpling up pieces of high-quality paper, hanging them on the wall and then spray-painting them resulting in every work being unique in colour and form.

Martin Creed contributed a score of One Minute On A Piano, Work No. 3482 which also features on a vinyl record alongside another new work, Becoming One, Work No. 3483.

Monster Chetwynd often creates her own handmade costumes and props for her thought-provoking, exuberant performances. For her contribution to M.M.S.#1, Chetwynd has designed a tiara made for all genders and all agendas. Decorated with bats rather than gems and flowers, Chetwynd hopes the tiara will bring an aura of pagan mysticism to everyday life and invites people to wear it or simply keep as an ornament.

Nico Vascellari contributed a custom-designed scratch card to M.M.S.#1. The scratch cards will award one recipient an edition work by Vascellari. Through this project, Vascellari continues his ongoing commitment to challenging the art market and its structural mechanism of exclusivity and limited accessibility. His work focuses on constructing a sense of collectivity between M.M.S. buyers based on mutual trust and support. Every person who has bought a box has mutually agreed that they will help someone else be lucky enough to scratch a winning card through their purchase.

Tania Bruguera is known for her activistic art practice that exposes political structures to the intrinsic injustices perpetrated. For her contribution to M.M.S.#1, Bruguera has designed a wash cloth, which features the written statement SPEAK FREE embroidered in the cloth. With this artwork, Bruguera comments on the importance of freedom of speech – our thoughts should be heard beyond any sort of impediment.

Tosh Basco’s contribution continues the artist’s collaborative and performative practice. For M.M.S.#1, Basco contributed a photograph that also functions as a postcard and a gift. The recipient will be given the option of participating in a performative act by sending the postcard to someone else. By inviting recipients to participate in the work and let it free from being possessed, the artwork stays alive and is ever-changing.

Alexander Tovborg (b. 1983, Denmark) explores the roles that history, mythology and religion play in human identity and the world we inhabit. His research into the origins and contemporary iterations of symbology, mysticism, and religious archetypes has yielded varied bodies of work and expressions.

Alicja Kwade (b. 1979, Poland) lives and works in Berlin. Her work investigates and questions the structures of our reality and society and reflects on our perceptual habits in our everyday life. Her diverse practice is based around concepts of space, time, science and philosophy, and takes shape in sculptural objects, public installations, video and even photography.

Daniel Buren was born in 1938 in Paris. He lives and works in situ.

Hesselholdt & Mejlvang (b. 1974 and 1976, Denmark) are a Danish artist duo who began working as a collective in 1999. Their practice is focused on site-specific, large-scale installations that investigate concepts of collective identity, and how these inform and are affected by socio-political structures. Rooted in extensive research as an integral modus operandi, their work often incorporates performance and active use of the public space.

Jenny Holzer (b. 1950, USA) has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether a T-shirt, plaque, or LED sign, is writing, and the public dimension is integral to her work. Starting in the 1970s with New York City street posters and continuing through her light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor and kindness.

Jeppe Hein (b. 1974, Denmark) is widely known for his production of experiential and interactive artworks that can be positioned at the junction where art, architecture, and technical inventions intersect. Unique in their formal simplicity and notable for their frequent use of humour, his works engage in a lively dialogue with the traditions of Minimalist sculpture and Conceptual art of the 1970s. Hein’s works often feature surprising and captivating elements which place spectators at the centre of events and focus on their experience and perception of the surrounding space.

Katharina Grosse (b. 1961, Germany) has gained international reputation mainly with her large-scale site-related paintings, where she sprays unmixed colours directly across any kind of materials, across objects, interiors, entire buildings or even landscapes.

Martin Creed (b. 1968, UK) graduated from the acclaimed Slade School of Art at University College London in 1990, and in 2001 he won the prestigious Turner Prize with ‘Work No. 227: The lights going on and off’. His work includes films, installations, paintings, theatre and live-action sculptures.

Monster Chetwynd (b. 1973, UK) is known for her exuberant performance pieces, featuring handmade costumes, props and sets. Chetwynd describes her work as ‘impatiently made’, often reusing everyday materials that are easy to process and use by the many performers she invites to participate, emphasizing the notion of collective development that informs much of the artist’s work.

Nico Vascellari (b. 1976, Italy) lives and works in Rome. His work is constantly bridging between diverse and heterogeneous mediums, such as performance, sculpture, video art, large multimedia bodies of works mainly investigating on the relationship between nature and men. His approach aims to reach and entangle with hybrid social layers, always meaning to stimulate a dialogue between his art and a varied range of audience.

Tania Bruguera (b. 1968, Cuba) is an artist and activist whose performances and installations examine political power structures and their effect on society’s most vulnerable people. Her long-term projects have been intensive interventions on the institutional structure of collective memory, education and politics.

Through performance, photography and drawing Tosh Basco (b. 1988, USA) mitigates the space where language, representation and becoming exist as seemingly discrete entities. Her improvisational movement-based work under the name boychild arose from the underground drag scene in San Francisco. She is co-founder of the collaborative entity Moved by the Motion with Wu Tsang and collaboration remains a vital aspect to her work.