‘Everyone contributes jointly to limiting the spread of the coronavirus. We should show the same solidarity with those who lose their income’, says Ruben Steinum, chairman of the Association of Norwegian Visual Artists.
‘This is part of a larger project to convert institutions for the people into institutions for the government’, according to Aneta Szylak, director of the contemporary art museum in Gdansk
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.
Internationalisation undermined the existence of a Nordic art scene, while a new image of the region tainted by colonial history gained attention in the globalised art world of the 2010s.
In the 2010s, Norwegian cultural politics began the deliberate disassembly of a functioning system under the pretence of having something to replace it with.
During the 2010s it has become apparent that the fascination of the archive can not be separated from the ideology of the digital data base.
This spring, nine Scandinavian writers, critics, and curators will share their reflections on Nordic contemporary art from the decade we just left behind.
A love goddess, a breastfeeding mother, and a carnivorous plant are all part of Sara Anstis’s mysterious world at Nevven Gallery in Gothenburg.
Listening to the Echoes of the South Atlantic at Oslo Kunstforening invites us to see music as a vessel for bringing the past into the present.
The Council for Visual Arts has introduced gender quotas for all art purchases made by the City of Copenhagen. Council member and director of Kunsthal Charlottenborg Michael Thouber hopes that others will follow.
Astrup Fearnley Museum has not renewed its sponsorship agreement with Lundin Norway. The museum will review its entire sponsorship profile when Solveig Øvstebø takes over as director in May.
This spring, nine Scandinavian writers, critics, and curators will share their reflections on Nordic contemporary art from the decade we just left behind.
Mariann Enge takes over as acting editor of Kunstkritikk.
Astrup Fearnley Museum’s presentation of contemporary African art gives the impression that the ripple effects of colonialism are an exclusively African issue.
Ann Veronica Janssens offers us a lens through which to see the world anew. Banal, perhaps, but also extremely effective.
All pop songs are both home and away, love and pain, yours and no one’s. Does music deceive us? Are we too naive in our approach? Or is the most beautiful thing about pop music actually the treason itself?
Johanna Gustafsson Fürst’s exhibition at Accelerator in Stockholm is an eye-opening take on the cultural genocide of a Swedish minority: the Tornedalians.
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