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.
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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.
In the 2010s, Norwegian cultural politics began the deliberate disassembly of a functioning system under the pretence of having something to replace it with.
In his day, Erling Viksjø, architect of the Oslo Government District, was called a “bulldozer” and an “enemy of culture.” Today, his own legacy is facing demolition.
Set against an iconic cinematic backdrop depicting the streets of New York, the Frieze Los Angeles art fair has every opportunity to juggle with the artificial, the commercial, the superficial – and Hollywood.
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.
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.
Swedish abstract painters Ragna Bley and Inger Ekdahl share an interest in automated processes. But at Malmö Konsthall, their works do not complement each other.
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.
Can Jarl Ingvarsson deliver us from late capitalism’s pandemic fatigue?