The world becomes so depressingly flat when there’s no difference between a face and a selfie. But how do we keep reality from being swallowed by its image, and art from being swallowed by reality?
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‘A farcical act of revenge’, according to Bogdan Szyber, who was unanimously rejected by a degree committee. For the first time in Sweden, a thesis in artistic research did not pass the public defence.
‘I am concerned with the complexities of human existence and with breaking down polarised opposition’, says this year’s Festival Exhibitor at Bergen Kunsthall, Joar Nango.
‘Being an editor requires an internal drive. It’s about working for something that’s bigger than yourself’, says Mariann Enge. She is Kunstkritikk’s new editor-in-chief.
CAMP’s Frederikke Hansen joins the curatorial team behind the next Documenta, while the Trampoline House becomes a ‘lumbung partner’.
Dag Erik Elgin’s copyist painting refuses to parade life as an economic resource.
On Saturday night, the statue of Hans Egede in Nuuk was defaced. Greenlandic artist Aqqalu Berthelsen passed on an anonymous statement from the group responsible.
Abandonment and ghostly presences dominate Jane Jin Kaisen’s body of work and an exhibition that, despite compelling narratives, longs for rhythm and surprise.
Mapping the ongoing “relocation” of the city, Kiruna Forever at Arkdes in Stockholm shows how the city and the mining corporation LKAB form an integrated social and technological system.
‘Our job is to provide the artists with the best possible framework’, says Solveig Øvstebø. This spring, she takes over as director of the Astrup Fearnley Museum in Oslo.
Internal conflicts, crisis of management, and despair among staff and students. A new report paints a dark picture of Stockholm’s Royal Institute of Art.
Does the Nordic art community have the courage to confront the effects of racist logics on local arts policies, practices and relationships?