More rainbow sprinkles than Jean Genet and William Burroughs, Leif Holmstrand’s retrospective at Marabouparken is surprisingly sanitised.
The 34th edition is a parade of monstrous and transgressive bodies.
Magnus Andersen expands painting beyond the canvas in a total
installation that grins at contemporary fantasies of idyllic rural life.
The Helsinki School started as a gallerist’s ambitious idea, became a huge commercial success, and put Finland on the international art map. But at what cost?
Extremely unpleasant exhibition in Berlin. Are Mire Lee’s works innocent victims of H. R. Giger’s perversions, or is this a case of mutual fetishism.
Goutam Ghosh’s exhibition at Standard (Oslo) points not only to what painting has been, but also to what it is becoming.
Most of Lawrence Abu Hamdan’s works at Bonniers Konsthall would have worked better as printouts.
Ventura Profana’s exhibition at Tenthaus in Oslo trains the organism to escape the grip of pornographic capital.
Martha Edelheit’s The Naked Truth: Works from the 60’s & 70’s at Larsen/Warner in Stockholm overflows with an irresistible sense of sensuality and liberation.
The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
With the show Hummings, KØS Museum shows its ambitions to move its programme towards public space, but delivers unconvincing results.
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.