On the Nose Gaze
Frida Orupabo’s exhibition at Bonniers Konsthall is unambiguously political.
Frida Orupabo’s exhibition at Bonniers Konsthall is unambiguously political.
Astrid Svangren’s new show in Stockholm is a compelling return to figuration.
In her magnificent exhibition at Arken, Ursula Reuter Christiansen is a force of nature dancing among poppies and throwing eggs at bombs.
The unreality of contemporary existence prompts a new twisted realism in Roderick Hietbrink’s show at BO in Oslo.
At a turning point for Berlin’s KW, Pia Arke makes her debut outside the Nordic countries, showing a third way between activism and abstraction.
Serlachius in Finland goes all in with a sprawling, amusing and disturbing show about masks.
Panteha Abareshi’s inimitable exhibition focuses on bodies with disabilities. However, we have to bypass a didactic aesthetic to get to the radical material.
The title of Simon Dybbroe Møller’s mid-career survey, Thick & Thin, suggests a formal investigation into sculpture. But the artist’s reflections on labour hit much harder.
Ida Ekblad’s paintings at Peder Lund are intimate physical events.
Together with evening school students and diner staff, Sara Sjölin has created an ode to industrial kitchens and unappetising food, to teenage nonsense and Waldorf philosophy.
Agnes Denes’s torch is carried on by Åsa Sonjasdotter.
There is little affect in Toril Johannessen’s exhibition at Bergen Kunsthall, but it is full of the most human of all resources: labour.
In Nikita Teryoshin’s exhibition in Oslo, a coffee mug encounters high-tech missiles on a trade fair table.
The Arts and Culture Magazine Publishers Forum announces an open call for a writer to join a research trip to Oslo.
Cecilie Norgaard at O-Overgaden is painting about painting in the best possible sense.
Nikolaj Kunsthal tries to turn Lars von Trier’s films into visual art, but ends up advertising for the genius.