Presented at Kunstnerforbundet in Oslo, Marthe Ramm Fortun’s obstacle course through the city teases out the prejudices that govern public behaviour.
Lea Porsager combines the zany with the stringent as she casts herself as a sex-obsessed shaman, conjuring images of things that are not visible to the naked eye.
Ursula Reuter Christiansen tears up the soil and the canvas with mythology and history, allowing her female subjects to break free from oppressive norms.
A new book on the singular artist, filmmaker, and electronic musician Åke Karlung redraws the map of Sweden’s experimental scene in the 60s.
Bergen Assembly 2019 mainly shows political art that is densely packed with information. This creates a sense of community, but it also produces new exclusions.
Our Friend, Valerie Solanas at Signal in Malmö pays tribute to women artists who find strength in fragility, but forfeits on a broad anti-capitalist feminism.
Anne Imhof’s new exhibition at Galerie Buchholz in Berlin makes a tantalising theatre of the zeitgeist. But what happens when the vape runs out of battery?
Michael Rakowitz’s exhibition in Malmö deepens the narrative of the Middle East’s lost cultural heritage.
A slow pace, collective efforts, and firm local ties facilitate LIAF 2019’s successful integration with its setting.
At Virserum Konsthall, Ane Hjort Guttu reflects on the challenges confronting rural areas in Sweden at a time when individuals are poised to be creative and free.
Unlike a superhero movie, the 10th Göteborg Biennial does not seek to reach an audience consisting of all the people on earth.
At Statens Museum for Kunst, Shahryar Nashat has produced a captivating immersive experience that is both seductive and claustrophobic.