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.
The Physical World Was Still There at Konsthall C is a gripping account of the human desire to escape reality. It has tenderness, grief, pain and lyricism.
The web of global entanglements and flows described by A beast, a god, and a line at Kunsthall Trondheim omits the exhibition’s immediate context.
With global politics poised at several precipices at once, the international art scene seems preoccupied with globalism and transgeographic exchange this spring.
While Danish museums celebrate record-high visitor numbers, others want to shut down the Ministry of Culture. In a way, the two are connected. Also, institutional collaborations have become the order of the day.
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