NFTs demonstrate art’s license to make commodities out of almost anything.
Two major institutions stage contemporary memento mori, and a talking cake warns humanity of the impending apocalypse.
When the Munch Museum, spearheaded by Director Stein Olav Henrichsen, uses Munch as a kind of zombie influencer to sell cars, it has crossed a line.
While Lars Vilks’s death is exploited by the media to hawk sob stories and political ideology, art critics are competing for the position of his most devout follower.
With doomsday vibes in Berlin, blockchains in Hamburg, and an art scene brat pack in Zurich, there’s every reason to renew your BahnCard. Here’s a bird’s-eye view of the autumn’s exhibitions north of the Alps.
Itinerant exhibitions and foraging artists: autumn on the Norwegian art scene suggests that art has discovered its potential as a parallel society.
Horses, lions, ants and potatoes – and a new minister of culture with
gunpowder residue on her hands. The Danish art scene’s autumn season is live on
In the future, the authority of museums will rest on their ability to explain why they have doubts. The discussion surrounding Kirchner and Nolde at the National Gallery of Denmark demonstrates why.
The new Munch Museum will open in the heart of Oslo this autumn with Tracey Emin, Sandra Mujinga, and black metal band Satyricon all joining the party. Still, someone has to be a party pooper.
After a couple of turbulent years, The Royal Danish Academy of Fine Arts has a new rector: Lars Bent Petersen.
Thinking with Simone Weil and Thomas Hirschhorn, precariousness and fragmentation emerge as forces that reshape ideas of power, monuments, and art’s role in our troubled present.
Revolution or fad? When Beeple’s NFT-work Everydays: The First 5000 days is sold at Christie’s this week, it will show where the art market is headed after COVID-19.