Grandmother’s Skin
Hilde Skancke Pedersen’s ránut can be felt in my fingers and on my tongue, even when I see them from a distance.
Hilde Skancke Pedersen’s ránut can be felt in my fingers and on my tongue, even when I see them from a distance.
Louise Steiwer looks back on a year when grief was finally allowed to fill the halls of art.
A triennial resembling The Blob and the fear of meeting another person’s gaze ever again: 2025 has left its mark on Tommy Olsson.
Pure hypocrisy: Denmark’s Minister for Culture praises art and culture in the fight against AI while the budget for the National Collection of Photography is slashed.
Christine Antaya decorates her tree with bright colours and a newfound love of nonsense.
