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.
“They have approved a building without considering what it is actually supposed to contain,” says Nivi Christensen on the forthcoming museum in Nuuk.
Fewer artists and a deeper focus make the 16th Gwangju Biennale a rare, organic experience.
Bonniers Konsthall develops Peter Weiss’s novel The Aesthetics of Resistance into an exhibition, but its core theme – class struggle – is conspicuously absent.
Kirsten Ortwed has spent a lifetime pushing sculpture to the edge. On the Danish isle of Bornholm, her art fits in almost suspiciously well.
