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.
The closure of National Gallery of Denmark’s X-room is symptomatic: in the dark ages following policies of budget cuts spaces for artistic experiment erode.
Who gets heard on the art scene, in gender discussions, and in society? It seems that the white man’s system still governs the debate on gender and representation.
The reason the work was effective was that I thought that I did not read the text that I had to read in order to understand the work.
Are we seeing a ketchup effect? Two years after #MeToo arrived, Denmark discusses equality and gender quotas in typically haphazard fashion, but at a new level.
Even in its struggle against kitsch, pop music is a flypaper for our memories. Can art be the same?