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Philippe Parreno’s retrospective solo exhibition at Palais de Tokyo in Paris is neither a retrospective nor a solo show. The old works are new, and he did not create all of them himself.
The question of contemporary art, Peter Osborne claims in his new book, is not what art is today, but what we should call art in a qualified sense right now, and which arguments we can muster for this.
Pierre Huyghe’s eponymous show is saturated, yet elusive: objects, sounds, films, events, and characters inhabit the space, without titles, wall texts, or any given context.
Are exhibitions created by artists or curators? Bjarke Hvass Kure discusses big issues at Years in two parallel solo exhibitions staged as exhibition-historical crime scenes.
Arctic at Louisiana is a fantastic Sunday expedition if you accept that the overall framework focuses on big thoughts, not the big problems, and that it has snow-blind spots as far as the art is concerned.
At the age of 33 David Lieske stopped making art. Now, at 34, he is back with 59 new pictures based on a gaping hole within the artist’s own “self image”.
In the fifth Moscow Biennale, MORE LIGHT, an exhibition that wants to reinvent the enlightenment for the never-resting epoch of late capitalism, the sun is slowly devoured by a black square.
Counter-Production (Part 2) at Index recreates in film an exhibition that was shown at Generali Foundation last autumn, but without critical friction or a meaningful shift in perspective.
André Tehrani explores complex cultural terrain in his debut exhibition, but at times the project’s lexical qualities become overwhelming.
The concept for the first Bergen Assembly is appropriated from a 1960s Soviet sci-fi novel. The outcome is both fascinating and annoying through its refusal to make itself accessible to a wider audience.
Sandra Vaka Olsen’s exhibition at Rolf and Olga Nowotny’s new venue in Copenhagen is a sleekly appetising and challenging philosophical reflection on a new phenomenological condition.
The Gothenburg biennial wishes to recapture playing and the imagination in the name of political change, but is only partially successful.
In Nikita Teryoshin’s exhibition in Oslo, a coffee mug encounters high-tech missiles on a trade fair table.
The Arts and Culture Magazine Publishers Forum announces an open call for a writer to join a research trip to Oslo.
Cecilie Norgaard at O-Overgaden is painting about painting in the best possible sense.
Nikolaj Kunsthal tries to turn Lars von Trier’s films into visual art, but ends up advertising for the genius.
