If truth is the first casualty of war, art is one of the next. This year’s Kyiv Biennial is a struggle of resistance.
Edith Hammar takes us to the queer Helsinki of the 1950s.
The objects have vanished from Simon Dybbroe Møller’s display cases at Palace Enterprise. This only makes the desire for them all the stronger.
Ryoji Ikeda’s exhibition in Helsinki is a perfectly executed sensory manipulation.
Friends, colleagues, artists, and activists. Apolonia Sokol creates radical forms of resistance through portrait painting.
Not all instruments are tuned to perfection in Frederik Næblerød’s Masquerade at Gl. Holtegaard. I danced anyway.
The first North Atlantic Triennial is well-intentioned, but the presentation is marred by political naivety.
Three exhibitions in Helsinki attest that tradition still weighs heavily on Finnish photography, despite the new generation’s playful and crowd-pleasing attitude.
At Accelerator in Stockholm, Lisa Tan dissects a contemporary neurotic with great accuracy.
Pussy Riot delivers a frantic and riveting exhibition at Louisiana, but it runs the risks of becoming a short-term fix.
The 12th Gothenburg Biennial is splendidly self-absorbed.
Alice Neel’s paintings brim with immense curiosity and feeling for the lives of her fellow humans.