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.
The mid-career survey by Danh Vo, one of the most internationally celebrated Danish artists, hits his hometown with a pop song title. But is it a hit – or a self-congratulatory pat on the back?
Jordan Wolfson’s work that created such bustle at the Whitney Biennial last year is on show at the Schinkel Pavillon in Berlin. But does it still work? Or is it yesterday’s news?
Documenta, the world’s foremost large-scale exhibition, will remain non-profit and is financially set for 2022. But two big issues relating to its artistic independence are still very much contested.
Everything you need to dream as Valeria Montti Colque’s recreates the Chilean Pavilion in Stockholm.
A show in Malmö reminds us that megalomaniacal ideas are best regarded as mind games.
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.
A new book uncovers the Nazi past of Swedens foremost postwar photographer.
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