The unsettling implications of deepfakes remind us that deception in art is no more pervasive now than it has been throughout history.
The destiny of blockchain art is the financialisation of artists themselves.
The rush to make online substitutes for events derailed by the COVID-19 pandemic promises an influx of viewing technologies that approximate real life.
With global politics poised at several precipices at once, the international art scene seems preoccupied with globalism and transgeographic exchange this spring.
Netflix’s new art world horror film, Velvet Buzzsaw, capitalises on the real life horrors of the art world.
Bergen’s plans for becoming an international cultural city overlooks the fact that the city already is.
In Andrea Büttner’s exhibition Shepherds and Kings at Bergen Kunsthall, the art world paradox of affluence and critique is not so much addressed as it is perpetuated.
As Director of Bergen Kunsthall, Axel Wieder intends to help art pay its dues to society.
Don’t be fooled by its congenial traditionalism, the 10th Berlin Biennale is not looking to make the viewer comfortable.
If you are made of flesh and blood, you will think about biting or sucking the objects in Torbjørn Rødland’s photographs.
The true story about Kunstkritikk’s attempt at interviewing the curators of We Don’t Need Another Hero, the 10th Berlin Biennale.
From Felt and Palmera via Slakt and Watch to Aldea – Bergen’s art scene is ripe with initiatives, but there is really no way to tell what an artist-run gallery really is or should be.
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?
In Ann-Sofie Back’s Stockholm retrospective, fashion and death go hand in hand.
War is the artist’s muse in Vanessa Baird’s retrospective at Munch Museum in Oslo.
Katalin Ladik’s first major presentation in the Nordics underscores the transformative power of the voice.
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