Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
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.
What is the legacy of 1968? Children of the Children of the Revolution gathers five Nordic artists whose parents were active in the left movement of the 60s and 70s.
A new exhibition wants to convince the citizens of Malmö to support the decision to build a new Malmö Art Museum.
Documental 14 is about to go down in history as an exhibition whose weak realization was outmatched only by its lack of financial and administrative direction.
If everyone knew that control society was being realized, then why did panic not erupt?
The Office for Contemporary Art Norway invites us to step away from the Western canon. A radical multi-voicedness awaits on the other side. But how does this affect the tradition of canon criticism?
Presented at Kunstnerforbundet in Oslo, Marthe Ramm Fortun’s obstacle course through the city teases out the prejudices that govern public behaviour.
Lea Porsager combines the zany with the stringent as she casts herself as a sex-obsessed shaman, conjuring images of things that are not visible to the naked eye.
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