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The Genetically Modified Little Mermaid by Bjørn Nørgaard

A warped bronze “younger sister” to Copenhagen’s famous mermaid, this harbourfront sculpture twists a national icon into a sharp commentary on genetics and modern society.

4.5

Just north of Copenhagen’s famous Little Mermaid, Bjørn Nørgaard’s Genetically Modified Little Mermaid sits on her own tiny island in the harbour, warped and elongated in bronze. Part of the larger “Genetically Modified Paradise” sculpture group by Dahlerups Pakhus at Langelinie, this striking figure twists the fairy-tale icon into a commentary on genetic engineering, consumer culture and postmodern society. It is a quietly provocative stop on a stroll along the waterfront.

A brief summary to The Genetically Modified Little Mermaid by Bjørn Nørgaard

  • Langelinie Allé 17, Copenhagen Municipality, København Ø, 2100, DK
  • Visit website
  • Duration: 0.5 to 1 hours
  • Free
  • Environment icon Outdoor
  • Mobile reception: 5 out of 5
  • Monday 12 am-12 am
  • Tuesday 12 am-12 am
  • Wednesday 12 am-12 am
  • Thursday 12 am-12 am
  • Friday 12 am-12 am
  • Saturday 12 am-12 am
  • Sunday 12 am-12 am

Local tips

  • Combine this stop with a visit to the classic Little Mermaid; the short harbourfront walk between the two highlights how differently the same myth can be imagined.
  • Visit in the morning or late afternoon for softer light on the bronze surfaces and calmer conditions along the Langelinie promenade.
  • Take time to explore the whole Genetically Modified Paradise group by Dahlerups Pakhus; the mermaid in the basin is just one part of the larger artwork.
  • Bring a light jacket outside of summer; the harbourfront can feel noticeably cooler and windier than inner-city streets.
  • Use this as a reflective pause on a longer waterfront walk, with a notebook or sketchbook if you enjoy responding to art on the spot.
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Getting There

  • Metro and walk from central Copenhagen

    From central Copenhagen, take the metro to Østerport Station on lines M3 or M4, then walk through the harbourfront area toward Langelinie; the total journey typically takes 20–30 minutes including a 10–15 minute walk on mostly flat, paved paths suitable for most mobility levels. Metro tickets within the city zones usually cost around 20–30 DKK one way, and trains run every few minutes during the day.

  • Harbour bus to Langelinie area

    Use Copenhagen’s harbour bus routes that serve stops near the cruise terminals and Langelinie; from inner-harbour stops the ride generally takes 15–25 minutes, with standard public transport tickets or travel cards valid on board. Services are less frequent in the evening and in winter, so it is worth checking the timetable in advance, and boarding involves a short walk along the quay on sometimes breezy, exposed sections.

  • City bicycle from the inner city

    Rent a city bicycle and follow signed bike routes toward Østerbro and Langelinie; cycling from central areas such as Kongens Nytorv usually takes 10–20 minutes along dedicated lanes and shared waterfront paths. Expect daily rental prices from roughly 100–150 DKK depending on provider, and be aware that the harbourfront can be windy, with occasional cobblestones and pedestrian traffic requiring slower speeds.

  • Taxi or rideshare from central districts

    Taxis from districts like Indre By or Vesterbro typically reach Langelinie Allé in 10–20 minutes, depending on traffic and cruise-ship activity, and provide a convenient option for travellers with limited mobility. Fares within the city centre commonly range from about 120–220 DKK one way, with higher prices in peak hours, and set-down points are on nearby streets, followed by a short level walk to the waterfront sculptures.

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A twisted sister on the Copenhagen waterfront

This bronze mermaid sits in the basin by Dahlerups Pakhus at Langelinie, only a short stroll from Copenhagen’s world‑famous Little Mermaid, yet the contrast between the two could hardly be greater. Perched on her own small island of stone, she echoes the pose of her older “sister” but with a body that has been radically distorted. Limbs stretch unnaturally, her torso is angular, and her face resists easy recognition, immediately signalling that this is not a romantic fairy‑tale heroine. The figure forms the watery outpost of a broader work called “The Genetically Modified Paradise,” and her position slightly away from the main group makes her feel like a watchful outsider. From the Langelinie promenade, you look across the quiet basin to see her profile against the harbour, framed by moored boats, brick warehouses and the ever‑changing northern light.

The Genetically Modified Paradise ensemble

Step back from the edge of the water and you find the heart of the installation on a granite‑paved square beside the old warehouse. Here a large dry fountain space, roughly 400 square metres, becomes a sculptural stage. In the centre rises a monumental sandstone triumphal arch, crowned by a towering Madonna figure that seems both sacred and unsettling. Around this central axis stand six more bronze and sandstone figures: Adam, Eve, Christ, Maria Magdalena, the Pregnant Man and the abstract Tripartite Capital. Each is exaggerated, hybrid or deformed, their surfaces cut with forms that hint at organs, tools or laboratory apparatus. Together they create a fragmented circle around the arch, a kind of postmodern pantheon that the mermaid in the basin extends into the harbour itself.

Bjørn Nørgaard’s provocative vision

Created by Danish artist and professor Bjørn Nørgaard, the group was originally conceived for an international exposition exploring the relationship between humankind, nature and technology. Later installed permanently here in Copenhagen, it reflects his long‑standing interest in mythology, religion, politics and the ethics of scientific progress. The mermaid, in particular, can be read as a response to contemporary debates about genetic engineering and biotechnology. Where the classic Little Mermaid embodies longing and sacrifice, this figure seems caught mid‑mutation, half‑sculpture and half‑specimen. The title’s use of “genetically modified” feels deliberately jarring, transplanting a scientific term into the fairy‑tale universe to invite questions about who gets to redesign bodies and to what end.

Reading symbols in metal and stone

As you move around the square, new details emerge. The Madonna atop the arch fuses sacred iconography with anatomical and mechanical forms, hinting at a future in which even ideals of purity might be engineered. Adam and Eve appear simultaneously familiar and alien, their bodies bearing marks that suggest both wounds and surgical interventions. The Pregnant Man challenges traditional ideas about gender and reproduction, standing near the more abstract Tripartite Capital, which can be interpreted as a nod to economic and political power structures. Down in the water, the mermaid absorbs all these themes into a single, compact figure: part lure, part warning, part parody of a national symbol that has been endlessly reproduced on souvenirs and postcards.

An offbeat pause on Langelinie

Despite its complex themes, the site itself is remarkably calm. Waves slap softly against the quay, cyclists glide past on the promenade, and cruise ships often loom in the distance. On overcast days the bronze takes on a sombre, almost greenish tone; in bright sun the metal gleams, and the water around the mermaid sparkles. The open square invites you to linger, sit on the low edges of the fountain structure and take time to examine each figure. Because it lies slightly off the main mermaid‑photo circuit, the atmosphere tends to be contemplative rather than hurried. For those interested in contemporary art, public sculpture or alternative takes on Copenhagen’s best‑known icon, this small harbour plaza offers a thought‑provoking counterpoint.

Context within Copenhagen’s mermaid mythology

Copenhagen’s waterfront carries several interpretations of the mermaid myth, from the early twentieth‑century classic to later, more experimental works scattered along the harbour. This piece plays an important role in that evolving conversation, anchoring the fairy tale firmly in the age of biotechnology and global capitalism. Seen after visiting the original Little Mermaid, Nørgaard’s creation can feel like a deliberately unsettling epilogue. Yet it is precisely this tension—between nostalgia and critique, beauty and unease—that gives the Genetically Modified Little Mermaid her distinctive power and makes this quiet corner of Langelinie worth seeking out.

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