An Investment in Democracy
Norwegian proposals for increased funding for periodicals and criticism should not only be heeded by the authorities, but also serve as inspiration for colleagues in other countries.
Norwegian proposals for increased funding for periodicals and criticism should not only be heeded by the authorities, but also serve as inspiration for colleagues in other countries.
The National Museum of Norway must take responsibility for contextualising Christian Krohg’s controversial nineteenth-century painting Leiv Eiriksson Discovering America.
The Iron Throne is vacant. Hardly any Norwegian artists have solo shows at the major museums, and everyone worries about sustainability.
This year’s first opening night in Copenhagen whetted our appetite for more. The season’s dictates are British 90s art, French 80s sculpture, and Georgian folk painting. Oh, and Arken is rebranding.
The Swedish art world prepares for a shift in cultural policy, and eight shows you must see this spring.
Condemning activists who take action against art is easy. But do museum directors actually take the climate crisis seriously?
In the virtual realm, af Klint’s spiritual vision of a temple is sacrificed on the altar of high-tech revelry.
This is how it will free our brains from the grip of big tech.
Documenta can be seen as a school for anti-fascist living. But in what sense can an exhibition be a school?
Election bullshit, hot air, down-at-heel flip-flops, and a delightful drop-out artist. The Danish art autumn is whipping into a frenzy.
The Norwegian art autumn will offer plenty of laughs; just don’t forget to worry about the future and the impact of new technology.
Gems and bonanzas light up the Swedish art autumn.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.