Malmö Konsthall’s retrospective feels like falling into someone’s cryptic notebook.
Art critic Christine Antaya’s year was brightened by a newfound love of nonsense.
This year’s most memorable exhibitions according to Kunstkritikk’s Christine Antaya.
Agnes Denes’s torch is carried on by Åsa Sonjasdotter.
A focus on wellness and sustainability sends a breath of fresh air through Wanås sculpture park. But coddling the audience can never replace good sculpture.
At Lund Konsthall, Aslan Goisum makes the audience navigate between graves.
Which of this year’s exhibitions played on Christine Antaya’s heartstrings?
Author Hettie Judah thinks it is time to imagine other artists than unencumbered males.
Art critic Christine Antaya lists her three favorite exhibitions in 2021.
Astrid Svangren on her search for sensory precision in painting, her love for Sappho’s poetic fragments, and the importance of being hard on yourself as an artist.
A love goddess, a breastfeeding mother, and a carnivorous plant are all part of Sara Anstis’s mysterious world at Nevven Gallery in Gothenburg.
Which were the most memorable art experiences of 2019? Today we hear from Christine Antaya, art critic and writer for Kunstkritikk.
Cultural theorist Paul Gilroy argues that today’s diasporic networks demand a new vocabulary.
Malmö Konsthall’s retrospective feels like falling into someone’s cryptic notebook.
At Henie Onstad, Ann Lislegaard’s brooding, apocalyptic tone feels less unsettling than predictable, trading genuine tension for a well-worn sense of gloom.
A glossy promise hovers just beyond the frame at the artist-run space Antics in Stockholm.
