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.
In the 2010s, money became an interpersonal issue, the patriarchy took a well-deserved beating, and a good pitch became more important than a good practice.
The destiny of blockchain art is the financialisation of artists themselves.
The rush to make online substitutes for events derailed by the COVID-19 pandemic promises an influx of viewing technologies that approximate real life.