David Garneau wants to write about Indigenous art with critical care.
‘I have always seen art as a lifesaver. As something that has driven me forward when I had difficulty finding my way home’, says performance artist Jules Fischer.
Critic and author Jonathan Crary wants to convey how easy it is to imagine a post-capitalist world.
For three decades, gallerists Ciléne Andréhn and Marina Schiptjenko have helped propel Stockholm’s art scene to international relevance.
The duo behind The White Pube wants less theorising and more action.
‘Demobilisation is precisely what can break the castle of power. The withdrawal of all energy’, says Franco ‘Bifo’ Berardi.
This year’s Transmediale festival finds a break from digital doom and gloom in club culture’s collective moments of bliss.
After coming to Sweden as a refugee of the Islamic Revolution in Iran, Mandana Moghaddam has been guided by a belief in art as a connecting force.
Suddenly, you know someone in Oslo who has started a new centre for contemporary art in Lusaka.
After a year of experience overload, Kunstkritikk’s Editor-in-Chief Mariann Enge singles out three exhibitions she cannot forget.
In 2022, art was at its best in the dark or seen through the hole of a doughnut, says Kunstkritikk’s editor in Denmark.
Three exhibitions which made a lingering impression on Kunstkritikk’s Swedish editor.