The unsettling implications of deepfakes remind us that deception in art is no more pervasive now than it has been throughout history.
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.
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 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?
‘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.
‘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 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.
Astrid Svangren on her search for sensory precision in painting, her love for Sappho’s poetic fragments, and the importance of being hard on yourself as an artist.
An agitational aesthetic demanding the redistribution of power and responsibility characterised the art field of the 2010s.
The artists and the mentally ill have a fount of relevant experiences which the whole community can learn from in the current crisis, says Jakob Jakobsen.
The New York collective DIS was always grappling with the texture of the present. Here, they talk irony, politics, and engagement, from the Berlin Biennial to the streaming service dis.art.
In the 2010s, collective action replaced individual visions as the agent of change in art institutions.