Netflix n’ Hill
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.
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.
Esben Weile Kjær is having a ball in a show that reveals how shared history is reduced when art becomes embroiled in self-actualisation and experience economy.
Reviews should be written for those who care, not for people in power. A new book collects some of the most savage criticism from the past sixty years.
Whether sculptures can be true is probably impossible to determine. Benjamin Hirte has made four monoliths: an attractive and funny invitation to contemplate the word.
Indoctrination: Multivalent Gestures at Fotogalleriet gives food for thought, but maybe not for the reason the curator intended.
Anna-Eva Bergman’s first major retrospective in Paris is unlike anything else.
When Daniel Birnbaum allies himself with the mystic Emanuel Swedenborg no alliance between matter and spirit seems impossible.
In Odense Aka Høegh draws expressive lines between Greenlandic mythology and postcolonial identity, and points to the interconnectedness of everything.
Laurie Anderson’s much anticipated retrospective at Moderna museet has finally opened. Does it live up to the hype? Mostly no, but also a little bit yes.
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.