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Priority of Process
Artist Germain Ngoma on why almost none of his work from the last twenty-five years has been shown in public, and his unremitting obsession with styrofoam.
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Painter’s Delight
Viktor Kopp’s new exhibition in Stockholm reframes the dichotomy between sensual and intellectual pleasure. He also returns to a favourite subject: chocolate.
Diehard and Cocksure
Kirsten Ortwed’s unsentimental art appears the antithesis of our fearful contemporary. But how do you become a hardcore Rhineland sculptress? Is there a recipe?
The Genial Republic
The freedom of art may be the single most disturbing phenomenon in a thoroughly organised democratic society – and its most shocking injustice.
‘I never address myself to an art audience’
French artist Saâdane Afif, convener for the next edition of Bergen Assembly, sees the triennial as mainly a local event.
Recent Descriptions of Artistic Research Are Polarised and Misleading
When art is limited by economic conditions and political instrumentalisation, the academy can offer an important space for experimentation and critical discourse.
Crocodile Cash
What went down when a sculpture by Natalie Djurberg & Hans Berg was sold for over SEK 16 million at Bukowski’s in Stockholm last week?
‘It’s fact. It’s rooted. It’s standing.’
The Norwegian artist Hanni Kamaly talks about mourning and remembrance, the physicality and presence of sculpture, and the Nordic art world’s reluctance to acknowledge the legacy of colonialism.
You’ll Die With All the Animals
Who Wants to Live Forever? at Kunsthall Trondheim is a morality play that urges us to reconcile with our impermanence.
The Show Is Not Over
In a closed-down Paris, Wu Tsang’s all-embracing exhibition at Lafayette Anticipations stages the desire to transcend the boundaries of the body and the psyche.
‘Being an artist was sort of like being God’
Martha Edelheit is a feminist pioneer who moved from New York to an island outside of Stockholm. Today, her work is being rediscovered by a younger generation.
Off to Neverland!
The liberating potential of partying forms the focal point of Esben Weile Kjær’s outstanding performance, which portrays millennials as a generation poised between anxiety and self-staging.
