In the Labyrinth
Lina Selander turns Marabouparken into a field of dazzling, haunting, and ethically unresolved images.
Lina Selander turns Marabouparken into a field of dazzling, haunting, and ethically unresolved images.
Kunstkritikk’s Emet Brulin on three shows that expanded art during a year of war and upheaval.
After a year of Israeli war on Gaza and increased pressure on the arts, the Danish-Palestinian artist Larissa Sansour opens two major exhibitions in the Nordics.
Frida Orupabo’s exhibition at Bonniers Konsthall is unambiguously political.
France celebrates as the philosopher’s fabled lectures are finally committed to print.
In the virtual realm, af Klint’s spiritual vision of a temple is sacrificed on the altar of high-tech revelry.
Centre Pompidou’s exhibition on the Weimar Republic reveals more than meets the eye.
Centre Pompidou organised a conference in solidarity with Ukraine.
As artists called in from Kyiv and Lviv the space was totally still.
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.