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.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.