Anne Haaning’s video montage is an elegant reminder of how an important chapter in Danish colonial history disappeared from our collective memory.
The Physical World Was Still There at Konsthall C is a gripping account of the human desire to escape reality. It has tenderness, grief, pain and lyricism.
The web of global entanglements and flows described by A beast, a god, and a line at Kunsthall Trondheim omits the exhibition’s immediate context.
Le monde nouveau de Charlotte Perriand is an imposing presentation of an artist who registers the contradictions of the 20th century. But did Perriand’s world consist only of men?
The new MoMA relinquishes its position as the model museum in order embrace diverse, queer, and complex subjectivities, and give modernism a new beginning.
Iris Smeds’s exhibition at Bonnier’s Konsthall is an exorcism of neoliberal exceptionalism.
Hans Haacke’s timely retrospective echoes urgent ethical issues around the role of museum boards in shaping policies towards labor and finance.
Daisuke Kosugi’s poignant portrait of human illness at Fotogalleriet in Oslo invites reflections on present-day obsessions with physical self-maintenance.
In Cyprien Gaillard’s exhibition in Stockholm, the angel of fascism dances for an eternal and desirable sleep.
Merike Estna’s paintings at Moderna Museet Malmö are inviting, strange, and genuinely convinced of their own vanity.
Haus der Kulturen der Welt in Berlin asks how we might carry on the legacy of the avant-garde in a postcolonial context. But who the hell is Hubert Fichte?
Like a giant daddy figure, Carsten Höller tosses us around, making us all giddy and dizzy. The entire set-up relies heavily on our willingness to take on the role of gullible children.