States of emergency such as the COVID-19 pandemic offer opportunities for developing new visions – for art institutions, too. Here’s a workshop for anyone to use.
The next great international struggle of our time should be for a universal basic income.
Decolonising means changing the fundamental material relations that define our lives.
What could the art world learn from coronavirus? Reflections of a nomadic art globetrotter in her quarantine in Tuscany.
In the midst of the COVID-19 pandemic, preparations to tear down the iconic Y-blokka in Oslo continue. That can’t possibly be good for our democracy or our public health.
In my last words as editor, I will articulate the role of art criticism in four main points – and say something about how it can get even better.
With global politics poised at several precipices at once, the international art scene seems preoccupied with globalism and transgeographic exchange this spring.
While Danish museums celebrate record-high visitor numbers, others want to shut down the Ministry of Culture. In a way, the two are connected. Also, institutional collaborations have become the order of the day.
Have women artists ever been as prominent as in Sweden during the spring of 2020?
‘Out with the old’ might be Norwegian art’s motto this spring, which will see numerous changes to buildings as well as directors – and plenty of experiments with new technology.
So far, the discussion on decolonisation in the art world has been centred on institutions. What if we instead turned our attention to the conditions for critical debate?
Haus der Kunst is a bit of a time suspend in Oslo, an enclave where the beer is cheap and unending, and the small things like smoking inside actually mean something.