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Nearly fifty of the magazine’s contributors demand the reinstatement of David Velasco, who lost his job after publishing an open letter calling for a ceasefire in Gaza.
As new director of Konsthall C, Mariam Elnozahy will dive headfirst into the conflicts between art and religion.
Pussy Riot delivers a frantic and riveting exhibition at Louisiana, but it runs the risks of becoming a short-term fix.
The 12th Gothenburg Biennial is splendidly self-absorbed.
‘It will not be a well-behaved show’, says João Laia, curator of the twelfth Gothenburg Biennial, promising a break from the strict academicism of recent years.
With the introduction of tuition fees for international students, Norway has become one of the most heavily guarded towers in Fortress Europe.
Børre Sæthre’s monuments to cruising culture turn more-or-less secret spots for casual sexual encounters into public spectacles.
Painter, draughtsman, museum director, thinker… The multifaceted Romanian artist Horia Bernea is featured in a dreamy retrospective at Kohta in Helsinki.
Despite Kirsten Justesen’s decades of thinking outside the gender box, Kunsten in Aalborg has pigeonholed her.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
David Garneau wants to write about Indigenous art with critical care.
Critic and author Jonathan Crary wants to convey how easy it is to imagine a post-capitalist world.
The Nordic Pavilion at the 60th Venice Biennale will be inspired by an ancient Chinese art form.
Inuuteq Storch will be the first artist from the North Atlantic region of the Danish commonwealth to represent Denmark at the Venice Biennale.
Liam Gillick transforms the Pergamon Museum into an episode of Buffy the Vampire Slayer.
Rosemarie Trockel’s monumental exhibition in Frankfurt is an overwhelming encounter with the intensely idiosyncratic abundance from which her art is composed.
Reviews should be written for those who care, not for people in power. A new book collects some of the most savage criticism from the past sixty years.
‘There is no doubt that she painted some of the works included in the Temple series’, says Daniel Birnbaum, editor of a new book about Anna Cassel.
What does it mean to live in the shadow of a dictator? This question haunts Mohammed Sami’s first major institutional show at Camden Art Centre in London.
Isaac Julien’s Tate Britain retrospective is shot through with subversive erotic energy.
‘I don’t believe in originality or authenticity. I’m remixing images that already exist in the world’, says artist Esben Weile Kjær, who is behind Arken’s new collection show.
Tomorrow, the American Fluxus legend Ken Friedman opens a show in Kalmar, Sweden, where he, unbeknown to many, has been living since 2014.
‘We have to recognize that our struggle for liberation is given in the language of liberalism’, says thinker, essayist, and poet Fred Moten.
Critic and author Jonathan Crary wants to convey how easy it is to imagine a post-capitalist world.
‘Demobilisation is precisely what can break the castle of power. The withdrawal of all energy’, says Franco ‘Bifo’ Berardi.
Philosopher Catherine Malabou wants to change anarchism’s bad rap.
Art historian Isabelle Graw wants us to stop idealising friendship.
Philosopher Yuk Hui asks how art can transform technology.
Swedish-born Valeria Montti Colque will represent Chile at the 60th Venice Biennial, an event of great symbolic significance for the Chilean diaspora.
If truth is the first casualty of war, art is one of the next. This year’s Kyiv Biennial is a struggle of resistance.
Edith Hammar takes us to the queer Helsinki of the 1950s.
Curators’ efforts to blur formal hierarchies tend to veil the power they themselves wield.
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