Simon Dybbroe Møller (born 1976 in Aarhus, Denmark) is a visual artist known for his thought-provoking exploration of objects, media, and temporality.
From 1999 to 2001, he studied under Magdalena Jetelowa at Kunstakademie Düsseldorf, followed by his time at Städelschule Academy of Fine Art in Frankfurt (2001–2005), where he was mentored by Tobias Rehberger. Currently based in Berlin, Dybbroe Møller has been a professor and head of the School of Sculpture at The Royal Danish Academy of Fine Arts since 2019.
His artistic practice examines the interplay between fundamental sensory experiences and the increasing detachment of representational media. His exhibitions feature carefully selected objects—often subtly modified—alongside video and photography. Speaking about these found objects, Dybbroe Møller has remarked:
"I like to think that some things invent themselves. Or come into being for reasons so complex, suppressed, or unarticulated that they appear almost independent from us. They have slipped into the world or been hushed into existence. These objects, then, are nonverbal articulations of our collective subconscious."
This approach extends to his video work, where he often focuses on a singular object. His Anachronism Trilogy (2012–2018) explores three distinct subjects: a car, a bird, and a poet. A critic once described his cinematic protagonists as "time travelers: conduits for time’s passage at different speeds."
Beyond his individual exhibitions, Dybbroe Møller is deeply engaged in collaborative projects. In 2019, he co-curated Mercury at Tallinn Art Hall with Post Brothers, inspired by his essay on photographic phenomena. Alongside artist Nina Beier, he co-founded AYE-AYE, an experimental exhibition series juxtaposing two objects—sometimes artworks, sometimes everyday items. His collaboration with curator Helga Just Christoffersen led to Why Words Now, a lecture and performance series investigating the paradoxical excess of language in the visual arts. Additionally, he runs Film Club Lifeblood, a screening program exploring the camera’s dynamic relationship with the human body, animals, and machines.
Through his multidisciplinary work, Dybbroe Møller continues to challenge the boundaries of perception, time, and artistic representation.
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