In Lytle Shaw’s New Grounds for Dutch Landscape the materialist turn is transformed into an art historical account of everyday ongoingness and the ground beneath our feet.
Arthur Jafa’s exhibition at Louisiana offers a virtuosic history lesson on Black American culture. It also deals a welcome blow to Danish racism.
Moderna Museet’s presentation of the acclaimed modernist sculptor makes the enduring radicalness of his work strikingly evident.
Ingela Johansson’s polyphonic and overflowing exhibition at Södertälje Konsthall shows how art is a struggle for the fundamental conditions of human time.
Okwui Enwezor’s final exhibition concludes the Trump-era identity-political crisis in American art, and examines mourning as an anti-racist paradigm.
At Sorø Art Museum, Peter Bonde engages with the past and role models in an exhibition that refuses to be retrospective.
The exhibition Worst-Case Scenario: Four Artists From Greenland at Lund’s Konsthall puts notions of authenticity and identity under ironic and questioning stress.
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.