Lee “Scratch” Perry’s entire persona and output comprise a complex Gesamtkunstwerk, a vast collage with roots dating back to 1958.
Protest and politics as seen through the work of generations of women artists in Poland.
‘If a culture is not active it ossifies and becomes a museum exhibit. And if I’m not allowed to use it, who is?’ Jessie Kleemann performs Greenland’s cultural shifts with blubber, blood, and beads.
In Finland, the long Covid lull makes local artists and dialogue appear in a new light.
Social justice movements have had a strong impact on the Swedish art world, but whether it has actually become more permissive is up for debate.
Sianne Ngai explains why art needs to embrace error in a world that is wrong.
Eliyah Mesayer’s state for the stateless is not rooted in a specific place or geographic site, but in human encounters and alchemical connections.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
Some of the webs found in Charlotte Johannesson’s artistic practice and why spinning and weaving the past into the future is so important.
Elisabeth Haarr, this year’s Festival Exhibitor at Bergen Kunsthall, thinks we know far too little about textiles and the place they hold in the cultural history of the world.
Eva-Lisa Bengtson could never fully live as the person she really was. But she paved the way for an entire movement and left a unique archive of Swedish trans history.
To put it wittily: the romantic in me has never seen a more realistic vision of Rondane than Harald Sohlberg’s.