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.
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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