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.
Prior to the opening of Welcome Too Late, curator Toke Lykkeberg explains why Claude Monet is a painter of exponential growth and advices artists on how to keep up with this speedy world.
An autumnal home story, a déjà-vu, and his trademark pastels: Marc Camille Chaimowicz furnishes his exhibition in sublime ambiguity, but the tyranny of our times pulls things into perspective.
Tiril Hasselknippe’s show at Bianca d’Alessandro rubs the artists post-apocalyptic narratives against art history, marking a radical departure from her post-Internet beginnings.
The ‘Post-Internet’ concept has entered mainstream consciousness – but how does it reflect on the status quo of art criticism today? Writers, critics and editors give their responses.
The ‘Post-Internet’ concept has entered mainstream consciousness – but does it receive the critique it requires? How does it reflect on the status quo of art criticism today?
“I‘m still terrified!” Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall.
Why the unlikely trio of Gabriel Kuri, Knut Henrik Henriksen and Richard Tuttle succeed in making a convincing case for the autonomy of art, even in site-specific interventions in Bergen.
Norwegian artists mobilise, the first comprehensive Greta Knutson-Tzara exhibition, and new initiatives in Copenhagen: a kunsthalle and yet another commercial art fair.
SPEED 2 at Malmö Konsthall highlights our lack of genuine filmic communication.
In constellations of kitschy furniture, Henrike Naumann’s show at KOW in Berlin addresses the still-fraught aftermath of German reunification.
How can a film be a landscape? This is at the core of Swedish artist John Skoog’s first feature-length film, showcased at the CPH:DOX festival opening today.
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