Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
Have women artists ever been as prominent as in Sweden during the spring of 2020?
Which were the most memorable artworks, exhibitions and books of 2019? Frans Josef Petersson is editor of Kunstkritikk in Sweden.
Iris Smeds’s exhibition at Bonnier’s Konsthall is an exorcism of neoliberal exceptionalism.
In Sweden, authors like Ursula Le Guin, Valerie Solanas, and the Danish poet Inger Christensen set a literary tone for an auspicious autumn season.
Frank Bowling’s retrospective at Tate Britain marks the homecoming of a great contemporary painter.
Local artists take on climate change in Boden, a Nordic Biennial in Örebro, and a Golden Lion-winning filmmaker in Stockholm. This is the Swedish art summer.
A new exhibition rehabilitates an overlooked Swedish modernist, for whom contemplation, rest and sensual pleasure were essential capacities of modern painting.
In Sweden, the spring season is dominated by some of Norway’s most acclaimed artists. And at Nationalmuseum, the Danish golden age is recreated.
For the 16th Luleå Biennial, the darkness of the polar night is imbued with dreams of new forms of aesthetic and political resistance.
At almost 80 years of age, Swedish sculptor Lars Kleen aspires to renew his medium at every turn. His most recent work evokes the dire consequences of climate change.
The new, comprehensively renovated Nationalmuseum in Stockholm fails in coming to terms with the institution’s colonialist heritage.
Stockholm’s gallery scene is transformed, while new directors take over at several of the major institutions. And one of Scandinavia’s oldest biennials is reawakened and rejuvenated.
The Physical World Was Still There at Konsthall C is a gripping account of the human desire to escape reality. It has tenderness, grief, pain and lyricism.
The web of global entanglements and flows described by A beast, a god, and a line at Kunsthall Trondheim omits the exhibition’s immediate context.
With global politics poised at several precipices at once, the international art scene seems preoccupied with globalism and transgeographic exchange this spring.
While Danish museums celebrate record-high visitor numbers, others want to shut down the Ministry of Culture. In a way, the two are connected. Also, institutional collaborations have become the order of the day.
Kunstkritikk is supported by
