Dark Teeth in Shining Smiles
Magnus Andersen expands painting beyond the canvas in a total
installation that grins at contemporary fantasies of idyllic rural life.
Magnus Andersen expands painting beyond the canvas in a total
installation that grins at contemporary fantasies of idyllic rural life.
Lee “Scratch” Perry’s entire persona and output comprise a complex Gesamtkunstwerk, a vast collage with roots dating back to 1958.
Protest and politics as seen through the work of generations of women artists in Poland.
“Racism and racial prejudice is impossible to understand without studying the normative white centre that gives rise to it”, says Jeff Werner, professor of art history at Stockholm University.
Goutam Ghosh’s exhibition at Standard (Oslo) points not only to what painting has been, but also to what it is becoming.
Martha Edelheit’s The Naked Truth: Works from the 60’s & 70’s at Larsen/Warner in Stockholm overflows with an irresistible sense of sensuality and liberation.
Sianne Ngai explains why art needs to embrace error in a world that is wrong.
McKenzie Wark thinks we misunderstood the utopian.
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.
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.
‘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.
With doomsday vibes in Berlin, blockchains in Hamburg, and an art scene brat pack in Zurich, there’s every reason to renew your BahnCard. Here’s a bird’s-eye view of the autumn’s exhibitions north of the Alps.
In Finland, the long Covid lull makes local artists and dialogue appear in a new light.
Itinerant exhibitions and foraging artists: autumn on the Norwegian art scene suggests that art has discovered its potential as a parallel society.
Social justice movements have had a strong impact on the Swedish art world, but whether it has actually become more permissive is up for debate.
Horses, lions, ants and potatoes – and a new minister of culture with
gunpowder residue on her hands. The Danish art scene’s autumn season is live on
air.
When the Munch Museum, spearheaded by Director Stein Olav Henrichsen, uses Munch as a kind of zombie influencer to sell cars, it has crossed a line.
Unravelling and sorting through threads of ideas, Leif Holmstrand’s retrospective at Marabouparken is surprisingly sanitized.
Today, Friday 22 October, marks the grand opening of the new Munch Museum in Oslo.
The 34th edition is a parade of monstrous and transgressive bodies.
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