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The new MoMA relinquishes its position as the model museum in order embrace diverse, queer, and complex subjectivities, and give modernism a new beginning.
Iris Smeds’s exhibition at Bonnier’s Konsthall is an exorcism of neoliberal exceptionalism.
Hans Haacke’s timely retrospective echoes urgent ethical issues around the role of museum boards in shaping policies towards labor and finance.
Daisuke Kosugi’s poignant portrait of human illness at Fotogalleriet in Oslo invites reflections on present-day obsessions with physical self-maintenance.
In Cyprien Gaillard’s exhibition in Stockholm, the angel of fascism dances for an eternal and desirable sleep.
Merike Estna’s paintings at Moderna Museet Malmö are inviting, strange, and genuinely convinced of their own vanity.
Haus der Kulturen der Welt in Berlin asks how we might carry on the legacy of the avant-garde in a postcolonial context. But who the hell is Hubert Fichte?
Like a giant daddy figure, Carsten Höller tosses us around, making us all giddy and dizzy. The entire set-up relies heavily on our willingness to take on the role of gullible children.
In his new book, Jonas Ekeberg gives a panoramic overview of the Nordic art world and explains why the art scene failed to counteract the right wing’s dismantling of the Nordic institutions.
Presented at Kunstnerforbundet in Oslo, Marthe Ramm Fortun’s obstacle course through the city teases out the prejudices that govern public behaviour.
Lea Porsager combines the zany with the stringent as she casts herself as a sex-obsessed shaman, conjuring images of things that are not visible to the naked eye.
Ursula Reuter Christiansen tears up the soil and the canvas with mythology and history, allowing her female subjects to break free from oppressive norms.
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.
