The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
With the show Hummings, KØS Museum shows its ambitions to move its programme towards public space, but delivers unconvincing results.
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.
The deformed bodies in Nicole Eisenman’s exhibition at the Astrup Fearnley Museum testify to the artwork as liberating event.
Thomas A. Østbye’s documentary film about the first Norwegian climate lawsuit draws a poignant picture of the authorities’ reluctance to act.
Mamma Andersson oscillates between landscape drama and silent homes in a major solo show at Louisiana presenting confident paintings with a laid back vibrating undercurrent.
In Matthew Barney’s comeback at the Hayward in London, self-mythologising has given way to a dark and icy world where environmental violence prevails.
Marte Gunnufsen’s exhibition at Noplace lulls you into a deceptive feeling of security.
Ida Ekblad’s paintings do not comment on visual culture, they produce it.
The first edition of the Helsinki Biennial is installed around a lush island in the archipelago, and emphasises an empathic and ritualised relationship to nature.
With a Danish ghost ship and humorous decolonial propaganda, the 11th Gothenburg Biennial wants to serve as a counter-narrative to the city’s official 400-year anniversary.
Damla Kilickiran’s exhibition at The Young Artists’ Society in Oslo shows how the pandemic has made us so focused our own bodies that our surroundings dissolve.