Ways of Seeing is theatre with a political agenda, raising awareness by looking at a protected and privileged world from a position on its margins.
In her beautiful sci-fi noir installation at the Danish Pavilion in Venice, Larissa Sansour asks what the memory of national identity means once a tsunami has washed away everything.
The 58th Venice Biennale provides an image of art’s postdigital condition, where politics is consigned to the level of the individual artwork.
What happened to the idea of a European public sphere? Artist Andjeas Ejiksson unearths a forgotten public service channel from the 80s.
Nina Roos’s exhibition at Lund’s Konsthall appears to emerge from within the paintings themselves.
Roxy Farhat’s exhibition at Index in Stockholm shows how feminist reason can emerge in the face of patriarchy.
Fondation Cartier shows how artists today try to invent a personal visual language where theory and politics are latent and unfathomable.
A dream in crisis? Europa Endlos is a curatorial essay on Europe, set against a backdrop of irony, globalisation, and Brexit.
Twenty years after quitting the art world, Cady Noland pops up with a retrospective in Frankfurt.
In Athens, Sanja Iveković offers a critical view of the historical struggle against fascism in Greece and Yugoslavia.
Artificial light is linked to the demand for ceaseless economic growth in Istvan Virag’s pessimistic exhibition debut.
SPEED 2 at Malmö Konsthall highlights our lack of genuine filmic communication.