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A number of seminal works within Swedish 1960s TV- and computer-based experimental film are being shown at Digital Art Center in Stockholm. The exhibition inspires confidence as well as a taste for more.
This year’s Moderna Exhibition showcases art from the Baltic region, mixing work from different epochs. The result is an exhibition without a guiding idea, so contemporary that it falls out of step with the times.
Keren Cytter makes films and reflects a lot on herself – like everyone else today. Perhaps that is why she is so exciting.
With its rather random and arbitrary curatorial approach the exhibition Europe, Europe at Astrup Fearnley ends up saying very little about European art as such.
Olafur Eliasson’s Riverbed at Louisiana embodies a kind of anti-seduction which wins much by the extent of time it forces you to spend inside the installation.
Instead of chastising a nation that has repressed an uncomfortable past, Fadlabi and Cuzner help present Norway as a country willing to face and renounce its racist past.
Henrik Olesen’s Abandon the Parents at the National Gallery in Copenhagen is a magnificent story about sons who left behind one kind of family, but perhaps created a new one.
The 2014 Whitney Biennial – the last held in the Brutalist granite box on Madison Avenue – is a somewhat old-fashioned, eclectic exhibition, but it evinces an unquestioning faith in art.
In the major Richard Hamilton exhibition in London, the renowned pop artist’s subtle ironies and games are realized as the conditions and objects of his critical works.
The 19th Biennale of Sydney reflects a curatorial belief in the artistic imagination transcending the bounds of reality – yet most of the artists seem more concerned with politics.
In spite of some gentle institution-critical kicks, Elmgreen & Dragset seem perfectly at home in Astrup Fearnley’s homoerotic and readymade-fetishised universe.
This survey show of exhibition invites, flyers and other printed ephemera, which comes to Liverpool from MoMA in New York, is rich in historical interest – and nostalgia.
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.
