|Artist||Elmgreen and Dragset|
|Type||Adobe, plaster, paint, glass panes, aluminum frames, MDF, carpet|
|Dimensions||4.6 m × 7.6 m (15 ft × 25 ft)|
|Location||US 90, Valentine, Texas|
Prada Marfa is a permanently installed sculpture by artists Elmgreen and Dragset, situated 2.3 km (1.4 mi) northwest of Valentine, Texas, just off U.S. Route 90, and about 60 km (37 mi) northwest of the city of Marfa. The installation was inaugurated on October 1, 2005. The artists called the work a "pop architectural land art project."
The sculpture, realized with the assistance of American architects Ronald Rael and Virginia San Fratello, cost US $80,000 and was intended to never be repaired, so it might slowly degrade back into the natural landscape. This plan was deviated from when, three days after the sculpture was completed, vandals graffitied the exterior, and broke into the building stealing handbags and shoes.
Designed to resemble a Prada store, the building is made of "adobe bricks, plaster, paint, glass pane, aluminum frame, MDF, and carpet." The installation's door is nonfunctional. On the front of the structure there are two large windows displaying actual Prada wares, shoes and handbags, picked out and provided by Miuccia Prada herself from the fall/winter 2005 collection; Prada allowed Elmgreen and Dragset to use the Prada trademark for this work. The sculpture was financed by the Art Production Fund (APF) and Ballroom Marfa, a center of contemporary art and culture.
Prada had already collaborated with Elmgreen and Dragset in 2001 when the artists attached signage to the Tanya Bonakdar Gallery in New York City with the (false) message "Opening soon - PRADA". Prada Marfa is located relatively close to Donald Judd's Chinati Foundation. The minimalism of Prada's usual displays that are mimicked in this work play off the minimalism that Judd is known for as an artist. The site-specific of Prada Marfa invites for a comparison with other art movements such as minimalism and land art, which are equally dependent on the site where they are placed. Prada Marfa relies almost entirely on its context for its critical effect. The "sculptural Intervention" can be interpreted as criticism of consumerism, luxury branding and gentrification, but whether intentionally or not, it reinforces the capitalist values it criticizes. Therefore this work of art experienced a change of meaning and gained an ambivalent moment, that the artists did not expect. Along a ledge that runs around the base of the building, hundreds of people have left business cards, weighed down by small rocks.
A few days after Prada Marfa was officially revealed, the installation was vandalized. The building was broken into and all of its contents (six handbags and 14 right footed shoes) were stolen, and the word "Dumb" and the phrase "Dum Dum" were spray painted on the sides of the structure. The sculpture was quickly repaired, repainted, and restocked. The new Prada purses do not have bottoms and instead hide parts of a security system that alerts authorities if the bags are moved. The vandalism shows the strong reaction and interaction between the sculpture and the viewers, being created among other things by the site-specific. The direct physical relationship between the sculpture and the viewers achieved extensive local and international press coverage.
Response from Texas Department of Transportation
The Texas Department of Transportation is currently discussing the fate of the installation now that it considers it to be a billboard that does not fit permitted specifications. As of March 2014[update], no final decision has been made regarding the installation and its location. Michael Elmgreen commented on the allegations that Prada Marfa is an illegal advertisement for Prada. He stated: "There is no company behind the artwork. I was not commissioned by Prada [...] They never, ever asked me to do advertisement for them."
- Wilson, Eric (September 29, 2005). "Front Row; Little Prada in the Desert". The New York Times. Retrieved March 23, 2010.
- Jodidio, Philip (2007). Architecture Now! (5) (Slovenia: Taschen). p. 202. ISBN 978-3-8228-1810-7.
- Mendelsohn, Adam (October 2005). "Stealing the Show". Artforum.
- Novovitch, Barbara (October 8, 2005). "Vandal Hated the Art, but, Oh, Those Shoes". The New York Times. Retrieved March 23, 2010.
- Nicky, Ryan (April 2, 2009). "From New York to the Congo via Marfa: Branded Occupation" (PDF). Proceedings of the Conference held at the University of Brighton. Occupation: Negotiations with Constructed Space. pp. 3–4. Retrieved February 27, 2014.
- Beal, Daphne (November 22, 2009). "In Marfa, Texas, Minimalist Art and Maximum Flavor". Boston Globe. Retrieved March 24, 2010.
- Heddaya, Mostafa (March 11, 2014). "Prada Marfa Vandalized". Hyperallergic. Retrieved March 14, 2014.
- Llorca, Juan Carlos (September 23, 2013). "TxDOT: Prada Marfa is illegal roadside ad; Structure installed in 2005 along a rural highway". Austin, TX: KXAN-TV. Retrieved September 25, 2013.
- Mari, Francesca (February 27, 2014). "So, Is it Art? Talking to Prada Marfa Artist Michael Elmgreen". Texas Monthly.
- Dragset, Ingar/Elmgreen, Michael: A space called public, Köln 2013.
- Elmgreen, Michael/Dragset, Ingar: Taking place. die Arbeiten von Michael Elmgreen & Ingar Dragset; anlässlich der Ausstellungen Michael Elmgreen & Ingar Dragset, Taking Place, Kunsthalle Zürich, 10 November 2001 - 20 January 2002, Michael Elmgreen & Ingar Dragset, Prison Breaking/Powerless Structures, Fig. 333, 25th São Paulo Biennial, São Paulo, 23 March - 2 June 2002, Ostfildern-Ruit 2002.
- Elmgreen, Michael: Prada Marfa. Elmgreen&Dragset, Köln 2007.
- Gisbourne, Mark: Double Act- Künstlerpaare, München, Berlin 2007.
- Szorcin, Pamela C.: Elmgreen&Dragset, in: Künstler. Kritisches Lexikon der Gegen-wartskunst, Ausgabe 93, Heft 2, (2011).