Extremely Contemporary
As curator of GIBCA 13, Christina Lehnert promises to confront the present head-on.
As curator of GIBCA 13, Christina Lehnert promises to confront the present head-on.
Fresh 90s nonchalance at Paris Internationale and Martine Syms at Lafayette Anticipations.
The climate has no time to wait, and nature cannot hurry. Camilla Berner is raising a forest on the island of Ærø.
Allegations of sexual misconduct in a Vaginal Davis work at Moderna Museet raise questions about art’s toxic culture of privilege.
Astrid Svangren’s new show in Stockholm is a compelling return to figuration.
Sculpture is re-articulated as a type of gathering in Silje Figenschou Thoresen’s exhibition at the Astrup Fearnley Museum in Oslo.
Frida Orupabo’s exhibition at Bonniers Konsthall is unambiguously political.
In her magnificent exhibition at Arken, Ursula Reuter Christiansen is a force of nature dancing among poppies and throwing eggs at bombs.
Experimental attitudes are back in vogue in Norway this autumn, with an archive of ground-up items and DIY biotechnology as menu highlights.
The Danish art institutions offer female pleasure and Artificial Intelligence. Meanwhile, art students in Aarhus are well prepared for an autumn of activism.
The unreality of contemporary existence prompts a new twisted realism in Roderick Hietbrink’s show at BO in Oslo.
Serlachius in Finland goes all in with a sprawling, amusing and disturbing show about masks.
It is becoming increasingly obvious that the national pavilions at the Venice Biennale are a problematic and dated premise for international contemporary art.
Do you fancy yourself an aesthete? Do you love finely tuned museum shows? Do you fetishise Indigenous art? Then the 60th Venice Biennale might be for you!
The skyrocketing artist on launching her first opera at the 60th Venice Biennale.
‘Photography is a direct extension of the eye. It’s history writing from our own perspective’, says Inuuteq Storch, the first Greenlandic artist in the Danish Pavilion at the Venice Biennale.
Many Nordic artists and cultural workers have signed. Moderna Museet, which is responsible for this year’s Nordic Pavilion, will not work to exclude other countries.
Swedish-born Valeria Montti Colque will represent Chile at the 60th Venice Biennial, an event of great symbolic significance for the Chilean diaspora.
Taryn Simon has filled Cisternerne with the beautiful voices of twenty professional lamenters, but the magnificent sadness does not really hit home.
A focus on wellness and sustainability sends a breath of fresh air through Wanås sculpture park. But coddling the audience can never replace good sculpture.
It is becoming increasingly obvious that the national pavilions at the Venice Biennale are a problematic and dated premise for international contemporary art.
Do you fancy yourself an aesthete? Do you love finely tuned museum shows? Do you fetishise Indigenous art? Then the 60th Venice Biennale might be for you!
The skyrocketing artist on launching her first opera at the 60th Venice Biennale.
‘Photography is a direct extension of the eye. It’s history writing from our own perspective’, says Inuuteq Storch, the first Greenlandic artist in the Danish Pavilion at the Venice Biennale.
When the ideas about art’s autonomy and the death of the author have been consigned to the landfill, all that remains is the naked sender.
France celebrates as the philosopher’s fabled lectures are finally committed to print.
Critics must break the chains of administrative power.
If Norwegian art critics have a marginal role in the public eye, they have only to blame their collective aversion to risk.
Art criticism is losing its footing amid obsessive demands for distribution and relevance. This is a problem for art too.
Art is artistic again: sometimes enchanting, sometimes plain commercial. But with formal criteria long left behind, how do we tell the difference?
France celebrates as the philosopher’s fabled lectures are finally committed to print.
‘We have to recognize that our struggle for liberation is given in the language of liberalism’, says thinker, essayist, and poet Fred Moten.
Critic and author Jonathan Crary wants to convey how easy it is to imagine a post-capitalist world.
‘Demobilisation is precisely what can break the castle of power. The withdrawal of all energy’, says Franco ‘Bifo’ Berardi.
Philosopher Catherine Malabou wants to change anarchism’s bad rap.
Art historian Isabelle Graw wants us to stop idealising friendship.
In Ann-Sofie Back’s Stockholm retrospective, fashion and death go hand in hand.
War is the artist’s muse in Vanessa Baird’s retrospective at Munch Museum in Oslo.
Katalin Ladik’s first major presentation in the Nordics underscores the transformative power of the voice.
Palestinian artist and film director Kamal Aljafari visits Oslo for the opening of his retrospective at Kunstnernes Hus.
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