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.
Silje Linge Haaland’s exhibition at Galleri K in Oslo tracks the increasing artificiality of life in our postdigital, pre-apocalyptic present.
Migration at Tensta Konsthall sets up a communication between different experiences of emigration, from the exile of war and resistance to dissolution in a cosmopolitical vortex of light.
Ways of Seeing is theatre with a political agenda, raising awareness by looking at a protected and privileged world from a position on its margins.
In her beautiful sci-fi noir installation at the Danish Pavilion in Venice, Larissa Sansour asks what the memory of national identity means once a tsunami has washed away everything.
The 58th Venice Biennale provides an image of art’s postdigital condition, where politics is consigned to the level of the individual artwork.