Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
In Vienna, Mumok’s new director Fatima Hellberg is quietly reshaping how we move through the museum. And how the museum moves through us.
Moderna Museet’s painting bonanza glitters, but leaves little room for sustained looking.
Nordic nostalgia and a fraught sponsorship collaboration at Market Art Fair in Stockholm.
At Moderna Museet Malmö, John Skoog asks if beauty can endure the crude logic of power.
At Henie Onstad, Ann Lislegaard’s brooding, apocalyptic tone feels less unsettling than predictable, trading genuine tension for a well-worn sense of gloom.
The Swedish spring is marked by aesthetic confidence and structural uncertainty.
Kunstkritikk’s Swedish editor on a year marked by fragile ways of seeing.
The 13th Gothenburg Biennial is an assembly kit for institutional conscience.
Somewhere between Black figuration and the late Picasso, the Swedish art season is looking for relevance.
Fascist, fool, or philosopher? Ian Hamilton Finlay still stirs the pot. At the centenary of his birth, a Stockholm show revisits the tensions at the heart of his work.
In Malmö, Kiki Smith delivers a profound case for art as a form of ecological and existential inquiry.
For all its racket, Moderna Museet’s Mike Kelley-show fails to speak to the current moment.
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.
A public event in Vilnius launching next year’s Baltic Triennial underscored the radical difference between being claimed by war and claiming detachment from it.
