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.
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.
What will we remember from the year in art 2022? Today’s contribution is by Claudine Zia, writer at Kunstkritikk and one of the founding members of The Union.
Christmas is here! Milou Allerholm opens the first door in Kunstkritikk’s advent calendar.
Do art institutions have a particular obligation to assess the ethics of their sponsors? Directors of museums and exhibition venues in Scandinavia answer that question.
In Germany, the large-scale commemoration of Michel Majerus’s untimely death provides an opportunity to revisit the 90s as a decade of both lost optimism and sinister beginnings.
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