Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
What does it mean to live in the shadow of a dictator? This question haunts Mohammed Sami’s first major institutional show at Camden Art Centre in London.
At Bonniers Konsthall, the late Peter Geschwind opens a door to the social affability of the 1990s.
The Swedish art world prepares for a shift in cultural policy, and eight shows you must see this spring.
Three exhibitions which made a lingering impression on Kunstkritikk’s Swedish editor.
Maya Eizin Öijer and Andréhn-Schiptjenko celebrate thirty years together with a killer show about death.
Iran’s cries are being heard all over the world. Is the hope for change alive? Artists in the Nordics react to the protests following the murder of Mahsa Jina Amini.
Gems and bonanzas light up the Swedish art autumn.
Eddie Figge and Agnieszka Polska reach stratospheric heights in the basement of the Workers’ Education Association in Stockholm.
The Sámi Pavilion is a historical recognition of indigenous soveregnity, and a surprisingly traditional approach to the idea of a pavilion.
A new exhibition at Lund Konsthall holds the key to a progressive, and playful, debate on public art.
The record-breaking budget is underplayed as Moderna Museet exhibits its corona acquisitions, focusing on works that offer aesthetic and thematic reassurance.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.
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