The Genial Republic
The freedom of art may be the single most disturbing phenomenon in a thoroughly organised democratic society – and its most shocking injustice.
The freedom of art may be the single most disturbing phenomenon in a thoroughly organised democratic society – and its most shocking injustice.
French artist Saâdane Afif, convener for the next edition of Bergen Assembly, sees the triennial as mainly a local event.
What went down when a sculpture by Natalie Djurberg & Hans Berg was sold for over SEK 16 million at Bukowski’s in Stockholm last week?
When art is limited by economic conditions and political instrumentalisation, the academy can offer an important space for experimentation and critical discourse.
Måns Wrange points to allegations of bias in the conflict over anti-discrimination measures at the school as a reason for his resignation.
Oslo artist Victor Mutelekesha is the founder of Zambia’s first centre for contemporary art.
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 Oslo Biennial was going to invigorate the local art scene and pioneer new curatorial methods. Now, it’s being brought to an end two years ahead of schedule. What went wrong?
Steffen Håndlykken, chair of the board of Young Artists’ Society, believes that the three hundred temporary grants to be awarded in 2021 should become a permanent scheme.
After a ten-year hiatus, Kristina Eriksson is back with a new set of paintings about the main feature of human inadequacy – that we are all going to die.
At Kristiansand Kunsthall, Apichaya Wanthiang captures the anxieties and fears of a pandemic-stricken world.
The unsettling implications of deepfakes remind us that deception in art is no more pervasive now than it has been throughout history.
Our Red Sky at Gothenburg Konsthall embodies how women’s experiences of sexual and racist violence can become tools for political change.
The Oslo City Department of Culture has decided to end the first instalment of the city’s biennial two years earlier than planned, due in part to financial overspending.
Criticism has moved from the daily newspapers to niche media. This should be reflected in Denmark’s new media policy agreement, says Kamilla Löfström of United Critics Denmark.
Adrian Bugge’s digital protest exhibition against the demolition of the Y-blokka in Oslo transforms destruction into creative energy, and injustice into rebellion.
Christian Falsnaes delves into the grey area between entertainment and submission, and delivers on both. It’s effective as well as aggravating.
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.
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