In SUPERFLEX work Den grønne Ø i det Røde hav (The green Island in the Red Sea), a mixture of archival footage from Vallensbæk Municipality, clips of robot inhabitants in the municipality, and a red liquid with a green spot can be seen. At the sametime, a voice-over narrates the robots’ path toward integration into the municipality. 

The work is a rewriting of the history of Vallensbæk Municipality. It describes the outcome of a fictional referendum that took place in 1962, the year the municipality got its first conservative mayor, Poul Hansen. The referendum results in the introduction of rights for robot citizens, placing them on equal footing with human citizens and accommodating their needs.The robots are integrated into Vallensbæk in the hope of resisting economic crises and rising populism. 

The work presents a constructed reality in which the existence of robots is threatened outside the green island and must be defended against populist socialists who do not prioritize the well-being of robots. The arguments for robot populations are that, when used ‘correctly’, they can help support a conservative societal structure in which the preservation of existing institutions iscentral. In this ideological discussion, qualities such as the robots’ endless reproducibility are highlighted - unlike nature and humans- they can theoretically be recreated with precision, generation aftergeneration, in the spirit of conservatism. 

SUPERFLEX is an internationally recognized artist collective formed in 1993 by JakobFenger, Bjørnstjerne Reuter Christiansen, and Rasmus Rosengren Nielsen. Their artistic practice is characterized by a critique of societal structures, particularly in relation to social, economic, and political systems. 

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