The cavernous Turbine Hall is Tate Modern's best known feature, perhaps the most hallowed modern art space in the country. Five storeys tall with 3,400 square metres of floorspace, it used to house the generators back when the building was a power station.

Every year, an artist is commissioned to fill the space with large-scale visual, acoustic and interactive works. Ai Weiwei gave us porcelain sunflower seeds, Olafur Eliasson digitised weather, Abraham Cruzvillegas a patch of living, breathing earth. Last year, French artist Philipe Parreno carpeted the hall and filled it with noise and floating fish. This year, it's the turn of Danish collective SUPERFLEX.

Best known for sticking a Euro coin on the Southbank's Hayward Gallery, the group deals with the social, political and cultural concerns of our age. The group doesn't skirt around issues – setting out to produce art with 'clear social relevance'. But however high-minded and well-intentioned its work might be, humour and flair are SUPERFLEX's definining characteristics.

In 2011, the group devised a strategy that it called 'extreme participation' for a project called Superkilen which involved creating a new park in one of Copenhagen’s most diverse neighbourhoods. The eccentric collection of structures and follies is meant to mirror how the various ethnic and national groupings in the neighbourhood are living together harmoniously. It is an idealised depiction of Denmark as an open-minded, pluralistic society.

For a show at the South London Gallery in 2009, SUPERFLEX took on global capitalism, showing a film of a replica McDonald’s being slowly flooded.

We can't wait to see what they have in store for the Turbine Hall.