Postcolonialism on the Veranda
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.
With the show Hummings, KØS Museum shows its ambitions to move its programme towards public space, but delivers unconvincing results.
Buffalo AKG Art Museum in upstate New York will open in 2022 and plans to boast the largest collection of Nordic art outside the region.
Lene Berg, next year’s official festival artist at Bergen Kunsthall, wants to tell the story of her late father, film director Arnljot Berg.
In Matthew Barney’s comeback at the Hayward in London, self-mythologising has given way to a dark and icy world where environmental violence prevails.
Mamma Andersson oscillates between landscape drama and silent homes in a major solo show at Louisiana presenting confident paintings with a laid back vibrating undercurrent.
Momentum’s director, Dag Aak Sveinar, responds to allegations of sabotage put forth in an open letter from dismissed curator Théo-Mario Coppola.
The Momentum Biennial opens this weekend against the will of its curator, Théo-Mario Coppola, who was recently fired.
‘In many ways, the project conducts fundamental research into how to make exhibitions.’ Nina Beier and Simon Dybbroe Møller give a glimpse of their micro-project space, AYE-AYE.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
In the future, the authority of museums will rest on their ability to explain why they have doubts. The discussion surrounding Kirchner and Nolde at the National Gallery of Denmark demonstrates why.
In Lytle Shaw’s New Grounds for Dutch Landscape the materialist turn is transformed into an art historical account of everyday ongoingness and the ground beneath our feet.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
Some of the webs found in Charlotte Johannesson’s artistic practice and why spinning and weaving the past into the future is so important.
To put it wittily: the romantic in me has never seen a more realistic vision of Rondane than Harald Sohlberg’s.
Eddie Figge’s paintings from the 1989 São Paulo Biennale should be shown in schools as proof that our planet has had visitors from a distant civilisation.
Some words around what it meant when Cecilia Bjartmar Hylta abstracted the act of masturbation into a large vibrating dildo wall. Or, why we feel sick making art.
In Good Speaker, Elise Macmillan reconstructs from memory a radio commercial she heard during her early youth.
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