Nimis Can Be Saved
After the death of Lars Vilks, the future of his site-specific work has been uncertain. Now the question of ownership is resolved, but some obstacles remain.
After the death of Lars Vilks, the future of his site-specific work has been uncertain. Now the question of ownership is resolved, but some obstacles remain.
After coming to Sweden as a refugee of the Islamic Revolution in Iran, Mandana Moghaddam has been guided by a belief in art as a connecting force.
‘It is both unsustainable and unethical’. Strike spokesperson Jenna Jauhiainen talks about the Finnish museum’s links to the Israeli arms trade.
The war in Ukraine and international biennials put their mark on our list of most popular articles for 2022.
Condemning activists who take action against art is easy. But do museum directors actually take the climate crisis seriously?
Do art institutions have a particular obligation to assess the ethics of their sponsors? Directors of museums and exhibition venues in Scandinavia answer that question.
After a year of experience overload, Kunstkritikk’s Editor-in-Chief Mariann Enge singles out three exhibitions she cannot forget.
In 2022, art was at its best in the dark or seen through the hole of a doughnut, says Kunstkritikk’s editor in Denmark.
Three exhibitions which made a lingering impression on Kunstkritikk’s Swedish editor.
This year’s top-three list from Kunstkritikk’s Norwegian editor, Stian Gabrielsen, exposes him as an irritable aesthete.
Here’s ‘the invisible’ that artist John Skoog recalls from the year 2022 in the arts.
Curator Anders Kreuger lists this year’s most memorable exhibitions in his hometown Helsinki.
For one year, Moderna Museet showed only locally produced art. This is what they learned.
Director at the Vigeland Museum in Oslo, Jarle Strømodden, believes it is too early to say whether the sculptures have suffered permanent damage.
Florencia Battiti, president of AICA Argentina, is among the organisers of this year’s AICA congress.
The Niki de Saint Phalle retrospective at Henie Onstad Kunstsenter gives an overview of her extremely varied practice. But what is the message?
In Apichaya Wanthiang’s solo show at Munch Museum, intimacy is accompanied by a yearning for closeness.
In the virtual realm, af Klint’s spiritual vision of a temple is sacrificed on the altar of high-tech revelry.
Alexander Basil’s self-portraits at Nevven in Gothenburg are a bit banal, almost kitschy. At the same time, they harbour something deeply dark.
How is love complicit in the creation of racial hierarchies? The Swedish author and scholar offers a valuable lesson.
This is how it will free our brains from the grip of big tech.
Fostering young talent is a focus area on the Danish art scene, but attention is seldom paid to what happens when artists pass away. Heirloom is a new organisation for neglected archives.
An exhibition of women and non-binary artists in an opulent Stockholm home is rife with dissonances and challenges to the gaze.
Lose yourself in Leonora Carrington’s dream vision: Arken will cradle you like a small speckled quail egg blessed by a sacred hand.
A small-scale Zoe Dewitt retrospective in Paris connects queer theory and occultism with surprising ferocity.
Ina Blom’s new essay collection enjoins us not to affirm what makes us feel most at home, but rather to attend to our feelings of estrangement.
Art historian Isabelle Graw wants us to stop idealising friendship.
Philosopher Yuk Hui asks how art can transform technology.
Sianne Ngai explains why art needs to embrace error in a world that is wrong.
McKenzie Wark thinks we misunderstood the utopian.
This year’s instalment of the Lofoten International Art Festival offers an inspirational meeting between art and a very special place.
Bergen Assembly 2022 is behavioural therapy for a contemporary art scene that needs to relax.
Tijana Mišković believes that art can convey painful experiences of war and displacement, even to those without first-hand knowledge of them. She has arranged an exhibition featuring Danish artists with roots in the former Yugoslavia.
How crisp can an exhibition on Surrealism get? Den Frie Centre of Contemporary Art shows the way.
Documenta can be seen as a school for anti-fascist living. But in what sense can an exhibition be a school?
Is the scandal engulfing Documenta 15 a tragedy of the arts, criticism, or the German debate on anti-Semitism?
Documenta 15 is all about networking.
Anonymous threats of violence are the culmination so far of the discussion surrounding the Palestinian artists’ group The Question of Funding and its participation in Documenta 15.
Documenta has countered that the allegations are false, but is putting a lid on further discussion until an upcoming panel debate.
CAMP’s Frederikke Hansen joins the curatorial team behind the next Documenta, while the Trampoline House becomes a ‘lumbung partner’.
The main exhibition at this year’s Venice Biennale is an effective and timely problematisation of the hierarchies in art.
Uffe Isolotto’s morbid blockbuster of an exhibition in the Danish Pavilion is first and foremost about a longing for feedback.
The 59th Venice Biennale was not a great year for the pavilions – until Ukraine stole the show.
The Sámi Pavilion is a historical recognition of indigenous soveregnity, and a surprisingly traditional approach to the idea of a pavilion.
Auctions of Arctic lands and thousands of letters from government authorities are among the works on view in The Sámi Pavilion in Venice.
These days we see a yearning for the past and a movement towards the transhuman, observes Uffe Isolotto, the artist behind the Danish Pavilion in Venice.
Tomorrow, the American Fluxus legend Ken Friedman opens a show in Kalmar, Sweden, where he, unbeknown to many, has been living since 2014.
After the death of Lars Vilks, the future of his site-specific work has been uncertain. Now the question of ownership is resolved, but some obstacles remain.
After coming to Sweden as a refugee of the Islamic Revolution in Iran, Mandana Moghaddam has been guided by a belief in art as a connecting force.
Suddenly, you know someone in Oslo who has started a new centre for contemporary art in Lusaka.
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