The World in a Yellow Box
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
Fashion week in a time of COVID-19 offers new digital-first strategies that increasingly prevail in the art world. What’s at stake when everything turns into viral content?
‘I hope it will be very powerful, like a muted, solemn pride parade’, says artist Sam Hultin, who is involved in the preparatory study for the monument.
At Malmö Konsthall, Ceija Stojka renders the horrors of the Roma Holocaust, the Porajmos, in which as much as half of Europe’s Roma population was killed.
Magnus Karlsson Gallery gives a rare and extended glance at Bruno Knutman’s particular form of radical play in a show focused exclusively on his drawings.
Santiago Mostyn’s exhibition at Andréhn-Schiptjenko in Stockholm is a hypnotic spatial montage which reveals the contours of an emergent Black subjectivity.
The art academies in the three Scandinavian capitals are all without rectors – and with staff and students openly mistrusting the management.
If contemporary art is as toothless as this year’s Luleå Biennial seems to argue, why should we engage with it? Luckily, the biennial offers a rather convincing answer to that question.
In the empty parallel world we know as Tjuvholmen, Ida Ekblad’s paintings shout out in a polyphonic chorus: ‘Steal me and take me home!’
Artist Germain Ngoma on why almost none of his work from the last twenty-five years has been shown in public, and his unremitting obsession with styrofoam.
Miriam Cahn summons real and timely struggles in a powerful show composed in the language of dreams.
Judging by statements made by the heads of Norwegian art institutions in the wake of this year’s Black Lives Matter protests, lack of will is not the issue when striving for greater diversity.
Artists Máret Ánne Sara, Anders Sunna and Pauliina Feodoroff will represent Sápmi at the 2022 Venice Biennale.
To professor of critical theory Juliane Rebentisch, contemporary art is mainly an academic problem.
The new art academies that emerged in the Nordic region during the 2010s offer multi-functional spaces. They also prescribe a new role for the artist: project manager.
An agitational aesthetic demanding the redistribution of power and responsibility characterised the art field of the 2010s.
In the 2010s, collective action replaced individual visions as the agent of change in art institutions.
In the 2010s, money became an interpersonal issue, the patriarchy took a well-deserved beating, and a good pitch became more important than a good practice.
The most important artists of the 2010’s were the ones who helped us to navigate through private and social neuroses, perversions, and psychoses.
In the 2010s, artists abandoned the present in favour of the past, the future, and other, larger temporalities. Art is no longer contemporary, but extemporary.
Kunstkritikk is supported by
