Netflix’s new art world horror film, Velvet Buzzsaw, capitalises on the real life horrors of the art world.
It’s time to stop grieving over the National Gallery and look forward to a new era for the Norwegian art world. Here are the must-see exhibitions coming up in the months ahead.
In Sweden, the spring season is dominated by some of Norway’s most acclaimed artists. And at Nationalmuseum, the Danish golden age is recreated.
The upcoming general elections are unlikely to change the dazed confusion of Danish cultural politics. But an exhibition about the EU and a Sonja Ferlov Mancoba retrospective look promising.
Bergen’s plans for becoming an international cultural city overlooks the fact that the city already is.
Stockholm’s gallery scene is transformed, while new directors take over at several of the major institutions. And one of Scandinavia’s oldest biennials is reawakened and rejuvenated.
A rowing trip to Tromsø, critique of the silencing of women and a speculative approach to the concept of ‘extraction’. It is the many kunsthalles across Norway that lead the way the coming art season.
Solid solo exhibitions, even of a more woke variety, lie ahead this autumn season. But this year, it was the Danish minister for culture who set the ball rolling.
The great paradox of the UKS’s proposal for affordable housing for artists is that it should apply to everyone, not just artists.
The true story about Kunstkritikk’s attempt at interviewing the curators of We Don’t Need Another Hero, the 10th Berlin Biennale.
The monument I Am Queen Mary forces the Danish public to realize they no longer have the stage of history to themselves, while its reception shows that colonial memory remains a battleground
Every alarm bell should be ringing when the art fair Art Basel wants NOK 3.4 million to tell us how to be more international.
How can a film be a landscape? This is at the core of Swedish artist John Skoog’s first feature-length film, showcased at the CPH:DOX festival opening today.
Tiril Hasselknippe’s brew of blissful neo-materialism and banal video game aesthetics is just the right amount of a good thing, i.e. too much.
The father of modern curating, Harald Szeeman, is memorialised at Castello di Rivoli in Turin with a lavish presentation of obsessive archiving and a hint of kitsch.
Debates on cultural politics in Denmark and Sweden, a five-year programme of art in public space in Oslo, and three Nordic artists represented in the Venice Biennial main exhibition.