Dag Erik Elgin’s copyist painting refuses to parade life as an economic resource.
Abandonment and ghostly presences dominate Jane Jin Kaisen’s body of work and an exhibition that, despite compelling narratives, longs for rhythm and surprise.
Mapping the ongoing “relocation” of the city, Kiruna Forever at Arkdes in Stockholm shows how the city and the mining corporation LKAB form an integrated social and technological system.
Bruno Latour’s current exhibition at ZKM | Center for Art and Media in Karlsruhe urges us to discover where we live before it’s too late.
The encounter between Bella Rune’s thin, almost transparent threads and Carl Eldh’s heavy realist sculptures is remarkably beautiful and moving.
Kybernein Institute’s The Campaign at Index describes the neoliberal paradigm shift in Sweden as the result of a vast and carefully orchestrated plot.
Stefanie Hessler’s astute critique of Western instrumentalisation of the ocean lacks a strategy for using that narrative as a political instrument.
Daniel Birnbaum and Sven-Olov Wallenstein’s book on Lyotard and the idea of the exhibition combines art criticism and philosophy in a way that is unlike any other.
In Éva Mag’s largest exhibition to date, heaps of salvaged objects outline the surplus populations produced by the network of global capital.
In Maria Pasenau’s first photobook, mediation is not an object inserted between us and social reality, but the fundamental premise of that reality.
In a disconcerting body of work, Steve McQueen makes our eyes sore from the world’s pain.
Lina Bjerneld shows how the current state of exception is an extension of yesterday’s political malaise.