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In April 2011 the election success of the populist party True Finns shook Finland and unleashed unprecedented public debate about immigration. Has contemporary art responded?
When political rhetoric is used in the service of the art institution, the critique of the institution goes bankrupt.
The seminar series The New Model at Tensta Konsthall wants to discuss the future, but never succeeds in leaving Palle Nielsen’s seventies.
The cultural sector’s opposition to right-wing populism and fascism has been strong but implicit. Perhaps in the time to come that opposition will require more direct expression.
In Olafur Eliasson’s ideological universe the audience contributes to the artworks to such an extent that the artist understands it as
labour. But at what cost?
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.
