’Allo ’Allo!
The Norwegian art spring displays the horny energy of an 80s sitcom.
The Norwegian art spring displays the horny energy of an 80s sitcom.
New institutions, new names for old institutions, and new spring exhibitions on the Danish scene.
Kunstkritikk’s editor-in-chief Mariann Enge reflects on the art that captured the state of the world in 2024.
Winds of change blew across Freetown Christiania this year, bringing Kunstkritikk’s editor in Copenhagen hope that Danish art will one day be renewed there.
Sex and death in Helsinki, meditative landscape painting in Oslo, and a glimpse of art’s future in Copenhagen. Artist Ernst Billgren gives us his top-three list.
A small gnome hiding inside a fountain pump sent Kunstkritikk’s Norwegian editor, Stian Gabrielsen, into a nostalgic fit.
See which painters were at the top of their game in 2024, according to Copenhagen-based artist David Risley.
Kunstkritkk’s Nora Arrhenius Hagdahl on this year’s wildest shows in Stockholm.
Dabbling with an early computer led Albert Oehlen to not only redefine his approach to painting, but also question artistic practice as such. He could be a role model for the AI generation.
Elina Merenmies’s retrospective in Turku draws on her Christian Orthodox faith to deepen our understanding of an oeuvre reverberating with grace.
Constance Tenvik’s interpretation of Greek antiquity at the Munch Museum in Oslo substitutes sexual and violent excesses for burlesque games.
Katalin Ladik’s first major presentation in the Nordics underscores the transformative power of the voice.
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.
Maurizio Cattelan’s show at Moderna Museet rejects both religion and politics as models for art. Instead, it proposes, artists can take back control by slacking off.
Centre Pompidou’s centennial exhibition is a celebration of an art which surrenders itself to Eros.
Everything you need to dream as Valeria Montti Colque’s recreates the Chilean Pavilion in Stockholm.
A show in Malmö reminds us that megalomaniacal ideas are best regarded as mind games.
Francis Picabia was a maximalist, but it is his most minimal compositions that score the most points at a show of his late works in Paris.
A new book uncovers the Nazi past of Swedens foremost postwar photographer.
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