An exhibition at the Museum of Contemporary Art brings together the distant worlds of art and gaming, without subsuming one to the other.
Tomomi Yamakawa’s “group show” gently re-enchants natural and industrial design through small and delicate interventions.
The Nitja Centre for Contemporary Art’s decision to centre its exhibition on one of the icons of the Black Lives Matter movement is a move that requires commitment.
Returning to her childhood home town, Fatima Moallim’s exhibition at Växjö Konsthall invites us to reflect on today’s appetite for identity and difference.
In Lytle Shaw’s New Grounds for Dutch Landscape the materialist turn is transformed into an art historical account of everyday ongoingness and the ground beneath our feet.
Arthur Jafa’s exhibition at Louisiana offers a virtuosic history lesson on Black American culture. It also deals a welcome blow to Danish racism.
Moderna Museet’s presentation of the acclaimed modernist sculptor makes the enduring radicalness of his work strikingly evident.
Ingela Johansson’s polyphonic and overflowing exhibition at Södertälje Konsthall shows how art is a struggle for the fundamental conditions of human time.
Okwui Enwezor’s final exhibition concludes the Trump-era identity-political crisis in American art, and examines mourning as an anti-racist paradigm.
At Sorø Art Museum, Peter Bonde engages with the past and role models in an exhibition that refuses to be retrospective.
The exhibition Worst-Case Scenario: Four Artists From Greenland at Lund’s Konsthall puts notions of authenticity and identity under ironic and questioning stress.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.