In painting, figuration is always a form of reduction, but reducing the paintings of art market darling Issy Wood to reflections of millennial woes falls significantly short.
Subversion and humour are back in the 13th Berlin Biennale, but the show is best where it’s most serious.
Fatima Hellberg’s farewell to Bonner Kunstverein is an intimate cabinet show celebrating her late colleague Alan Logino.
Francis Picabia was a maximalist, but it is his most minimal compositions that score the most points at a show of his late works in Paris.
Dabbling with an early computer led Albert Oehlen to not only redefine his approach to painting, but also question artistic practice as such. He could be a role model for the AI generation.
Esben Weile Kjær may be a rising star, but his Solar System in Aalborg consists of rat-infested ruins, mutations, and epoxy diamonds. Is it for real or simply fake?
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.
Recent organisational changes promise a scandal-free Documenta 16. But how credible is a world expo of the arts in Germany’s current cultural climate?
No curator. Not even a finding commission. What’s happening with Documenta? Is it time for a reboot – or is the end nigh?
An international cast of anonymous protagonists populates Francis Alÿs’s Children’s Games. But from what vantage point can the artist and today’s viewers connect across time, space, and cultures?
Is the scandal engulfing Documenta 15 a tragedy of the arts, criticism, or the German debate on anti-Semitism?
A dream in crisis? Europa Endlos is a curatorial essay on Europe, set against a backdrop of irony, globalisation, and Brexit.
Louise Steiwer looks back on a year when grief was finally allowed to fill the halls of art.
A triennial resembling The Blob and the fear of meeting another person’s gaze ever again: 2025 has left its mark on Tommy Olsson.
Pure hypocrisy: Denmark’s Minister for Culture praises art and culture in the fight against AI while the budget for the National Collection of Photography is slashed.
Christine Antaya decorates her tree with bright colours and a newfound love of nonsense.
