The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
Ane Hjort Guttu and Sveinung R. Unneland’s exhibition at Hordaland Kunstsenter is both a model for art education and a sombre warning about its failings.
At Malmö Konsthall, Ceija Stojka renders the horrors of the Roma Holocaust, the Porajmos, in which as much as half of Europe’s Roma population was killed.
Actions of Art and Solidarity at Kunstnernes Hus in Oslo merges past political struggles into an instrument in service of institutional goals.
Magnus Karlsson Gallery gives a rare and extended glance at Bruno Knutman’s particular form of radical play in a show focused exclusively on his drawings.
Santiago Mostyn’s exhibition at Andréhn-Schiptjenko in Stockholm is a hypnotic spatial montage which reveals the contours of an emergent Black subjectivity.
In highly ornamented pieces that seduce the eye, Ebony G. Patterson touches deep colonial wounds and stresses the need to discuss them – without ending up in a muddle.
If contemporary art is as toothless as this year’s Luleå Biennial seems to argue, why should we engage with it? Luckily, the biennial offers a rather convincing answer to that question.
In the empty parallel world we know as Tjuvholmen, Ida Ekblad’s paintings shout out in a polyphonic chorus: ‘Steal me and take me home!’
Viktor Kopp’s new exhibition in Stockholm reframes the dichotomy between sensual and intellectual pleasure. He also returns to a favourite subject: chocolate.
Who Wants to Live Forever? at Kunsthall Trondheim is a morality play that urges us to reconcile with our impermanence.
In a closed-down Paris, Wu Tsang’s all-embracing exhibition at Lafayette Anticipations stages the desire to transcend the boundaries of the body and the psyche.