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– It would have amounted to self-censorship not to integrate the social and political into my work, says German-born New York-based artist Hans Haacke to Kunstkritikk.
The 25th anniversary of Texte zur Kunst was celebrated with a conference in Berlin: a star-studded programme featuring friends of the journal. But how can you discuss canon when everyone’s part of the club?
At the inauguration of the conference Nordic Avant-Garde 1975-2000 in Copenhagen today, Ellef Prestsæter proposes a rethinking of the relation between avant-gardes and networks.
Tom Eccles visited Oslo recently and reflected on his time with the Public Art Fund and CCS Bard in a public lecture. – One has to adapt while staying critical, he states in this interview.
– Even when we are forced to move, we are free to wander, says Nisrine Boukhari, whose exhibition at Bildmuseet in Umeå opens on Sunday.
– Art needs to be a bit stupid to be good, says Martin Creed to Kunstkritikk. On Saturday he opens a new exhibition at the Peder Lund gallery in Oslo.
Through her work with the organisation W.A.G.E., Lise Soskolne is attempting to change the working conditions for American artists. In Oslo she exhibits her own paintings for the first time in 14 years.
– I use lower case letters because they are beautiful and anti-hierarchic, says Jean-Michel Wicker, who opens the solo exhibition futurbella in Bergen Kunsthall tomorrow.
– Ambient sound recordings are a powerful way to archive a space, says poet Jordan Scott, who presents recordings from Guantánamo Bay at the Oslo International Poetry Festival tonight.
With the documentary #artoffline, shown as part of the Norwegian Sculpture Biennial, the director Manuel Correa seeks to challenge art’s problematic relationship with the Internet.
– It is quite ironic that I am described as a postcolonial artist when the entire point of this discussion was to get rid of such constraining categories, says Fiona Tan ahead of the opening at The Museum of Contemporary Art in Oslo.
In Rio de Janeiro museums must cut down their opening hours because they cannot afford the cost of air conditioning, and everyone I meet is complaining about a lack of discourse production in the art.
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.
