Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
Magnus Karlsson Gallery gives a rare and extended glance at Bruno Knutman’s particular form of radical play in a show focused exclusively on his drawings.
Despite rather uncertain prospects, these are the art events we look forward to in Norway, Sweden, and Denmark.
Which were the most crackerjack exhibitions of 2020 according to Kunstkritikk’s Swedish editor?
Viktor Kopp’s new exhibition in Stockholm reframes the dichotomy between sensual and intellectual pleasure. He also returns to a favourite subject: chocolate.
Academic research is driving art in a direction where it will require shock treatment to be resurrected.
After a ten-year hiatus, Kristina Eriksson is back with a new set of paintings about the main feature of human inadequacy – that we are all going to die.
After a tumultuous start of the year, the autumn season is back on track in Sweden. Yet, resentment is bubbling under the surface.
Lina Bjerneld shows how the current state of exception is an extension of yesterday’s political malaise.
Louisiana’s Nancy Spero retrospective mishandles the legacy of a significant feminist artist.
Can Jarl Ingvarsson deliver us from late capitalism’s pandemic fatigue?
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.
For artist Simona Barbera, sound has come to be more about its consequences.
Minister of Culture Joy Mogensen wants to strengthen management in art education, set up boards of directors, and counteract overly academised teaching. At best, this breaks with decades of technocracy.
Will Grief and Grievance: Art and Mourning in America be as formative as Documenta 11 was at the start of the millennium? A report from a panel debate in New York.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
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