Unlike a superhero movie, the 10th Göteborg Biennial does not seek to reach an audience consisting of all the people on earth.
At Statens Museum for Kunst, Shahryar Nashat has produced a captivating immersive experience that is both seductive and claustrophobic.
Dealing with bad art, the book Bad Writing is gloriously perverted in places. But it is also a slightly surly attack on what it calls ‘political correctness’.
Of Martin Gustavsson’s two exhibitions in Stockholm, one renders the love between men, the other gives hope about the generosity and beauty of the world.
Frank Bowling’s retrospective at Tate Britain marks the homecoming of a great contemporary painter.
This year’s Whitney Biennial focuses on autonomous personal narratives. The political aspects are embedded in the processing of material and form.
Jesper Just extends his film across the many rooms of Kunsthal Charlottenborg to tell stories about the architecture of the body, and sensory exhaustion in our present day.
Bringing together energetic painting and climate activism, Margrethe Kolstad Brekke’s exhibition at Hordaland Kunstsenter asserts the role of individual agency in fashioning a sustainable future.
Malmö Konsthall’s summer exhibition presents the work of three female artists who have spent decades making work on the margins of the art world.
Ephemeral and relational art set the aesthetic agenda of the Oslo Biennial, which risks disappearing without a trace.
A new exhibition rehabilitates an overlooked Swedish modernist, for whom contemplation, rest and sensual pleasure were essential capacities of modern painting.
In the Nordic Pavilion in Venice, insects, green growths in glass containers, and clusters of seaweed all thrive. Whether it is inhabitable to us humans is less certain.