If contemporary art is as toothless as this year’s Luleå Biennial seems to argue, why should we engage with it? Luckily, the biennial offers a rather convincing answer to that question.
In the empty parallel world we know as Tjuvholmen, Ida Ekblad’s paintings shout out in a polyphonic chorus: ‘Steal me and take me home!’
Viktor Kopp’s new exhibition in Stockholm reframes the dichotomy between sensual and intellectual pleasure. He also returns to a favourite subject: chocolate.
Who Wants to Live Forever? at Kunsthall Trondheim is a morality play that urges us to reconcile with our impermanence.
In a closed-down Paris, Wu Tsang’s all-embracing exhibition at Lafayette Anticipations stages the desire to transcend the boundaries of the body and the psyche.
The liberating potential of partying forms the focal point of Esben Weile Kjær’s outstanding performance, which portrays millennials as a generation poised between anxiety and self-staging.
Miriam Cahn summons real and timely struggles in a powerful show composed in the language of dreams.
The exhibition featuring Goodiepal’s collection is also a retrospective of ‘Goodiepal’ the phenomenon, which is also a school, a band, and a refugee organisation.
To professor of critical theory Juliane Rebentisch, contemporary art is mainly an academic problem.
Manifesta 13 in Marseille – one of the European cities hardest hit by the pandemic – unbolts the door to madness. But is madness enough in these insane times?
After a ten-year hiatus, Kristina Eriksson is back with a new set of paintings about the main feature of human inadequacy – that we are all going to die.
At Kristiansand Kunsthall, Apichaya Wanthiang captures the anxieties and fears of a pandemic-stricken world.