Kunstkritikk is taking a summer break. We will be back in August. As a summer read, we recommend our essay series, where nine Scandinavian writers, critics, and curators share their reflections on Nordic contemporary art from the last decade.
The new art academies that emerged in the Nordic region during the 2010s offer multi-functional spaces. They also prescribe a new role for the artist: project manager.
An agitational aesthetic demanding the redistribution of power and responsibility characterised the art field of the 2010s.
In the 2010s, collective action replaced individual visions as the agent of change in art institutions.
In the 2010s, money became an interpersonal issue, the patriarchy took a well-deserved beating, and a good pitch became more important than a good practice.
The most important artists of the 2010’s were the ones who helped us to navigate through private and social neuroses, perversions, and psychoses.
In the 2010s, artists abandoned the present in favour of the past, the future, and other, larger temporalities. Art is no longer contemporary, but extemporary.
Internationalisation undermined the existence of a Nordic art scene, while a new image of the region tainted by colonial history gained attention in the globalised art world of the 2010s.
In the 2010s, Norwegian cultural politics began the deliberate disassembly of a functioning system under the pretence of having something to replace it with.
During the 2010s it has become apparent that the fascination of the archive can not be separated from the ideology of the digital data base.
This spring, nine Scandinavian writers, critics, and curators will share their reflections on Nordic contemporary art from the decade we just left behind.