Use quotes for an exact search. For example, "Edvard Munch".
– Art has a kind of inherent Communist perspective, says Mikkel Bolt on the occasion of his new book. However, he is sceptical about art’s contribution to the revolution.
“We love trouble,” says Bjørnstjerne Christiansen from SUPERFLEX. Eight different curators challenge the group’s 20 years of work in an innovative retrospective at Kunsthal Charlottenborg in Copenhagen.
“I‘m still terrified!” Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall.
“I want them to appear moonlit but as if I had imagined moonlight as a stage instruction,” says Silke Otto-Knapp about her landscapes, which are on display at Kunsthal Charlottenborg in Copenhagen.
David Horvitz is ready for the opening of Lofoten International Art Festival (LIAF), but is still searching for a wooden spoon made from rowan tree to stir a soup he has made from a magic stone.
Picabia, Schnabel, and Willumsen represent an offbeat, impure vein of Modernism, says Claus Carstensen about his and Christian Vind’s exhibition Café Dolly at the J. F. Willumsen Museum in Frederikssund.
After developing it into a strong and visible player on the international art scene, Marta Kuzma has left Office for Contemporary Art Norway.
The Bergen Assembly curators Ekaterina Degot and David Riff admit that their experience of Bergen as a socialist utopia is an illusion.
Throughout four years as general manager of UKS, the Young Artists Society, Linus Elmes has wanted to break free of the institutional negotiation position and create a kind of organic unity.
“I strongly believe in illusion,” says Ulrik Heltoft, whose intriguing photographs of botanical motifs and film about a questing Neanderthal man are exhibited in Copenhagen.
Why Oslo has been the most vital, interesting art scene in Scandinavia for the last ten years – and the story of a generation that works with plaster, Google and actions.
“Wikipedia art” erodes the imagination. New knowledge must be created or emerge; otherwise the thing being created has no real legitimacy, says Goodiepal.
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.
