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.
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.
After art’s artistic turn, mood is the new benchmark for quality in contemporary art, positing a philosophically sustainable alternative to spectacle and newness.
This year’s Lofoten International Art Festival delves into local history while emphasising the need to connect with the world.
After a year of Israeli war on Gaza and increased pressure on the arts, the Danish-Palestinian artist Larissa Sansour opens two major exhibitions in the Nordics.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
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