From Greenland to Venice
Inuuteq Storch will be the first artist from the North Atlantic region of the Danish commonwealth to represent Denmark at the Venice Biennale.
Inuuteq Storch will be the first artist from the North Atlantic region of the Danish commonwealth to represent Denmark at the Venice Biennale.
‘It will not be a well-behaved show’, says João Laia, curator of the twelfth Gothenburg Biennial, promising a break from the strict academicism of recent years.
Artist Marianne Heier is organising a seminar about and with stateless persons in Norway.
The opening of the Barents Spektakel festival in Kirkenes will coincide with the anniversary of Russia’s invasion of Ukraine. Curators Neal Cahoon and Ingrid Valan explain why.
Author Hettie Judah thinks it is time to imagine other artists than unencumbered males.
‘I don’t believe in originality or authenticity. I’m remixing images that already exist in the world’, says artist Esben Weile Kjær, who is behind Arken’s new collection show.
Tomorrow, the American Fluxus legend Ken Friedman opens a show in Kalmar, Sweden, where he, unbeknown to many, has been living since 2014.
After the death of Lars Vilks, the future of his site-specific work has been uncertain. Now the question of ownership is resolved, but some obstacles remain.
‘There is no doubt that she painted some of the works included in the Temple series’, says Daniel Birnbaum, editor of a new book about Anna Cassel.
‘It is both unsustainable and unethical’. Strike spokesperson Jenna Jauhiainen talks about the Finnish museum’s links to the Israeli arms trade.
The war in Ukraine and international biennials put their mark on our list of most popular articles for 2022.
‘When I saw Van Gogh drenched in soup, I felt an ache in my chest. At first, I thought it was anger, but then I realised it was hope!’, says artist Karin Lorentzen.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.