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For one year, Moderna Museet showed only locally produced art. This is what they learned.
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. Stine Hebert
and Johanne Løgstrup have set up 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.
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.
Election bullshit, hot air, down-at-heel flip-flops, and a delightful drop-out artist. The Danish art autumn is whipping into a frenzy.
The Norwegian art autumn will offer plenty of laughs; just don’t forget to worry about the future and the impact of new technology.
Gardar Eide Einarsson questions the impact of contemporary art’s political gestures.
In Jakob Kudsk Steensen’s digital swamp, we don’t need boots. Despite the use of impressive technology, the supposedly natural settings on the big screens feel as well-groomed as a suburban lawn.
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’.
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.
Barbara Kruger goes low in a surprisingly melancholy show at Neue Nationalgalerie in Berlin.
‘We want the Fredriksen agreement to be terminated’, says Nikhil Vettukattil, one of the artists behind a call for Norway’s National Museum to end the collaboration.
Lunds Konsthall presents Gülsün Karamustafa’s work as a response to government repression in Turkey.
‘Did you go to sleep with your dead wife in your lap, father?’ Lene Berg’s Festival Exhibition at Bergen Kunsthall pulls no punches.
The kunstverein is a cornerstone of the sturdy German art system, believes Milan Ther, the new director at Kunstverein in Hamburg.
Bigert & Bergström’s Tipping Point will be shown during the UN’s climate summit in Stockholm.
In Germany, the large-scale commemoration of Michel Majerus’s untimely death provides an opportunity to revisit the 90s as a decade of both lost optimism and sinister beginnings.
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.
Olof Olsson’s info comedy remains well-written, toe-curling, and entertaining, but leaves little room for doubt and vulnerability.
On Saturday 11 June, the largest art museum in the Nordic region will finally open to the general public.
This autumn, Tone Hansen will take over as director of the Munch Museum, which is currently facing pressure both internally and externally.
The curator and critic’s new book of collected writings neglects his role as champion of blockbuster shows.
Sergey Bratkov’s exhibition at Kohta in Helsinki is a sophisticated slap in the face.
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.
The third instalment of The Hannah Ryggen Triennial prompts the question of society’s technical justification.
Sámi artist Britta Marakatt-Labba’s textile art holds significant stories within. Now she is taking part in the main exhibition of the Venice Biennale.
Controversial sponsorship agreement attracts renewed criticism after invasion of Ukraine.
‘The core question of art is the relation between ethics and aesthetics’, according to Charles Esche. Together with co-curator Susanne Ewerlöf he has curated Hurting and Healing at Tensta konsthall.
Centre Pompidou organised a conference in solidarity with Ukraine.
As artists called in from Kyiv and Lviv the space was totally still.
No more censorship: Russian artist Sergei Prokofiev’s work is once again part of the Spring Exhibition. The chair of the Charlottenborg Foundation, artist John Kørner, has resigned from the board.
As the curator of the Russian Pavilion finally publicised his letter of resignation, its close ties to a warmongering Russian elite were conspicuously left out.
Artists and cultural workers in Ukraine and Eastern Europe ask the international art community to do all we can to support the Ukrainian people.
A petition by AICA calls on the European Commission to stop the systematic persecution of dissent and minority voices.
‘We are not addressing the “crypto art market.” We are selling
contemporary art and the proof of ownership happens to be in the form of NFTs’, say the founders of Juneart.io.
In Germany, the large-scale commemoration of Michel Majerus’s untimely death provides an opportunity to revisit the 90s as a decade of both lost optimism and sinister beginnings.
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.
Olof Olsson’s info comedy remains well-written, toe-curling, and entertaining, but leaves little room for doubt and vulnerability.
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