Too Much Hope
The main exhibition at the 61st Venice Biennale is a spiritualist séance with no spirits present.
The main exhibition at the 61st Venice Biennale is a spiritualist séance with no spirits present.
The inaugural exhibition of the New Museum’s expansion is undone by an inability to leave anything out.
Strong reactions from European leaders to Russia’s participation in this year’s biennial. Danish minister open to boicott.
Synnøve Persen’s landscapes imagine the Arctic beyond the tourist sublime.
Halloween vibes at the Munch Museum as Kim Hankyul gives form to our increasingly intimate relation to media.
Cultural theorist Paul Gilroy argues that today’s diasporic networks demand a new vocabulary.
Inuuteq Storch captures the life-or-death struggle between indigenous identity and its image.
This spring the Norwegian art scene is bursting with sci-fi, political vision, and largest-ever presentations of female artists.
Medieval psychedelia on jute canvas punched a hole through wall and time for Kunstkritikk’s Norwegian editor, Stian Gabrielsen.
Artist Damien Ajavon recalls a year scented with desire, doubt, sweat, perfume, and synthetic hair.
The Nordic region’s leading art journal asks readers to contribute financially.
In artist Lesia Vasylchenko’s account of the year, secret alphabets sprout to the hum of wind turbines.
Which memories do we preserve together, and which do we allow to fade into oblivion? It’s in that murky space that the collective coyote operates.
The main exhibition at the 61st Venice Biennale is a spiritualist séance with no spirits present.
Many of the pavilions at the 61st Venice Biennale manage to transcend the outdated structure of national representation.
Transgressive creatures in the Nordic Pavilion.