With a Danish ghost ship and humorous decolonial propaganda, the 11th Gothenburg Biennial wants to serve as a counter-narrative to the city’s official 400-year anniversary.
Damla Kilickiran’s exhibition at The Young Artists’ Society in Oslo shows how the pandemic has made us so focused our own bodies that our surroundings dissolve.
Art collective SIGNA has taken over the new art venue in Copenhagen’s Ørestad district with a spectacular nightmare exposing the beautiful disasters of capitalist reality.
The Munch Museum’s presentation of Edvard Munch’s paintings of Sultan Abdul Karem would have benefited from less didacticism.
At Kunsthall Stavanger, Jamian Juliano-Villani accelerates the visual logic of commercialism to expose contemporary culture for what it is: an absurd nightmare.
Anne Imhof disappoints in morphing a live performance piece into her first major film work, delivering an infuriatingly long sequence of overhyped images in slow motion.
The seventh Borås biennial captures the conflicts of our time through texture, sensuality, spirituality, and ‘deep listening’.
Olof Marsja’s exhibition at Nevven in Gothenburg is a bold mix of contemporary spirituality, Sámi handicraft, and fake designer clothes.
Death to the Curator at Kunsthall Oslo argues that power in the art world should be more evenly distributed.
The National Gallery of Denmark sets sail in the name of decolonisation with an exhibition about Emil Nolde and Ernst Ludwig Kirchner as gentle and critical as the catalogue is problematic.
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.