What Is (Not) to Be Done
‘Demobilisation is precisely what can break the castle of power. The withdrawal of all energy’, says Franco ‘Bifo’ Berardi.
‘Demobilisation is precisely what can break the castle of power. The withdrawal of all energy’, says Franco ‘Bifo’ Berardi.
In a large-scale installation of silicone sculptures, Marie Munk finds an unusual way out of techno-determinism.
‘We are not addressing the “crypto art market.” We are selling
contemporary art and the proof of ownership happens to be in the form of NFTs’, say the founders of Juneart.io.
Two major institutions stage contemporary memento mori, and a talking cake warns humanity of the impending apocalypse.
Magnus Andersen expands painting beyond the canvas in a total
installation that grins at contemporary fantasies of idyllic rural life.
With the show Hummings, KØS Museum shows its ambitions to move its programme towards public space, but delivers unconvincing results.
Anne Imhof disappoints in morphing a live performance piece into her first major film work, delivering an infuriatingly long sequence of overhyped images in slow motion.
Thinking with Simone Weil and Thomas Hirschhorn, precariousness and fragmentation emerge as forces that reshape ideas of power, monuments, and art’s role in our troubled present.
In highly ornamented pieces that seduce the eye, Ebony G. Patterson touches deep colonial wounds and stresses the need to discuss them – without ending up in a muddle.
Miriam Cahn summons real and timely struggles in a powerful show composed in the language of dreams.
Abandonment and ghostly presences dominate Jane Jin Kaisen’s body of work and an exhibition that, despite compelling narratives, longs for rhythm and surprise.
In a disconcerting body of work, Steve McQueen makes our eyes sore from the world’s pain.
Merlin Carpenter gives us the art he thinks we deserve at Borgenheim Rosenhoff.
Do you fancy yourself an aesthete? Do you love finely tuned museum shows? Do you fetishise Indigenous art? Then the 60th Venice Biennale might be for you!
Nina Beier reminds us that no relationship should be considered unexpected in the 21st century.
Mariann Enge’s term as Kunstkritikk’s editor-in-chief has been renewed for four years.