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.
Matias Faldbakken’s memorial to the 2011 terrorist attacks in Norway makes security its aesthetic point.
In Vienna, Mumok’s new director Fatima Hellberg is quietly reshaping how we move through the museum. And how the museum moves through us.
In Oslo, Cecilia Vicuña presents two monumental collective works about the struggle for life in the sea.
The past haunts the present through the apparatuses that make our images in Lap See Lam’s exhibition at Henie Onstad Art Center.