Priority of Process
Artist Germain Ngoma on why almost none of his work from the last twenty-five years has been shown in public, and his unremitting obsession with styrofoam.
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Diehard and Cocksure
Kirsten Ortwed’s unsentimental art appears the antithesis of our fearful contemporary. But how do you become a hardcore Rhineland sculptress? Is there a recipe?
Recent Descriptions of Artistic Research Are Polarised and Misleading
When art is limited by economic conditions and political instrumentalisation, the academy can offer an important space for experimentation and critical discourse.
‘It’s fact. It’s rooted. It’s standing.’
The Norwegian artist Hanni Kamaly talks about mourning and remembrance, the physicality and presence of sculpture, and the Nordic art world’s reluctance to acknowledge the legacy of colonialism.
‘Being an artist was sort of like being God’
Martha Edelheit is a feminist pioneer who moved from New York to an island outside of Stockholm. Today, her work is being rediscovered by a younger generation.
Forests of the Unreal
The unsettling implications of deepfakes remind us that deception in art is no more pervasive now than it has been throughout history.
‘Hell is the cosmos’
Peter Weibel and Bettina Korintenberg, the curators behind the exhibition Critical Zones at ZKM in Karlsruhe, want us to turn our eyes to the earth.
Artistic Research Is a Threat to Artistic Freedom
What Bogdan Szyber, in his doctoral dissertation, refers to as ‘Edu-art’ impedes artistic freedom because it is practiced according to the demands of academic research.
The Dog and Its Vomit
The world becomes so depressingly flat when there’s no difference between a face and a selfie. But how do we keep reality from being swallowed by its image, and art from being swallowed by reality?
Where Do We Go From Here?
‘I am concerned with the complexities of human existence and with breaking down polarised opposition’, says this year’s Festival Exhibitor at Bergen Kunsthall, Joar Nango.
When an Exhibition Actually Matters
‘Our job is to provide the artists with the best possible framework’, says Solveig Øvstebø. This spring, she takes over as director of the Astrup Fearnley Museum in Oslo.
The End of Art Education as We Know It
The new art academies that emerged in the Nordic region during the 2010s offer multi-functional spaces. They also prescribe a new role for the artist: project manager.
