Daisuke Kosugi’s poignant portrait of human illness at Fotogalleriet in Oslo invites reflections on present-day obsessions with physical self-maintenance.
In Cyprien Gaillard’s exhibition in Stockholm, the angel of fascism dances for an eternal and desirable sleep.
Merike Estna’s paintings at Moderna Museet Malmö are inviting, strange, and genuinely convinced of their own vanity.
Haus der Kulturen der Welt in Berlin asks how we might carry on the legacy of the avant-garde in a postcolonial context. But who the hell is Hubert Fichte?
Like a giant daddy figure, Carsten Höller tosses us around, making us all giddy and dizzy. The entire set-up relies heavily on our willingness to take on the role of gullible children.
In his new book, Jonas Ekeberg gives a panoramic overview of the Nordic art world and explains why the art scene failed to counteract the right wing’s dismantling of the Nordic institutions.
Presented at Kunstnerforbundet in Oslo, Marthe Ramm Fortun’s obstacle course through the city teases out the prejudices that govern public behaviour.
Lea Porsager combines the zany with the stringent as she casts herself as a sex-obsessed shaman, conjuring images of things that are not visible to the naked eye.
Ursula Reuter Christiansen tears up the soil and the canvas with mythology and history, allowing her female subjects to break free from oppressive norms.
A new book on the singular artist, filmmaker, and electronic musician Åke Karlung redraws the map of Sweden’s experimental scene in the 60s.
Bergen Assembly 2019 mainly shows political art that is densely packed with information. This creates a sense of community, but it also produces new exclusions.
Our Friend, Valerie Solanas at Signal in Malmö pays tribute to women artists who find strength in fragility, but forfeits on a broad anti-capitalist feminism.