The Danish government’s bill to counteract Quran burnings sacrifices art’s autonomy, ambiguity, and freedom.
Lee Lozano’s caustic cultural critique depicts the violent perversions on which American culture is founded.
Democracy melts on the surface of a light-making machine. At Charlottenborg Hito Steyerl brilliantly demonstrates why: capitalism is realising the alchemists’ vision of commanding light.
Any painterly Eros in Sergej Jensen’s paintings is necrophiliac by nature. The past served up as an outstretched hand that crumbles as you reach out to grab it.
Louisiana’s Op Art exhibition is not banal razzle-dazzle. It is a gem of retinal queerness. But the museum misses a splendid opportunity to revise the reception history of the genre.
The Anthropocene Project conference in Berlin marked the beginning of an ambitious research project aimed at creating a new cosmology in light of our new man-made geological epoch.
Contemporary art’s rhetoric of doom has become a comfortable cliché, as the scramble for relevance turns resistance into a risk-free, legible aesthetic.
Synnøve Persen’s landscapes imagine the Arctic beyond the tourist sublime.
Klara Lidén has turned professional, keeping her body strong and her gaze fierce. Will she still get hurt if she slips off the knife-edge she’s dancing on?
At Moderna Museet Malmö, John Skoog asks if beauty can endure the crude logic of power.
