In this series, Kunstkritikk invites artists to write about the artists who inspire them.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
Some of the webs found in Charlotte Johannesson’s artistic practice and why spinning and weaving the past into the future is so important.
To put it wittily: the romantic in me has never seen a more realistic vision of Rondane than Harald Sohlberg’s.
Eddie Figge’s paintings from the 1989 São Paulo Biennale should be shown in schools as proof that our planet has had visitors from a distant civilisation.
Some words around what it meant when Cecilia Bjartmar Hylta abstracted the act of masturbation into a large vibrating dildo wall. Or, why we feel sick making art.
In Good Speaker, Elise Macmillan reconstructs from memory a radio commercial she heard during her early youth.
Hertha Hansons’s painting reminds me of something. Perhaps it’s just a feeling, the meaning of which shifts, surfaces, and disappears.
On Magnus Enckell’s canvases, flesh and bone pile up in formations that spell out words I can read, but not yet write.