Frans Josef Petersson er Kunstkritikks nordiske redaktør i Stockholm. Han er født i 1977, og er kunstkritiker i Aftonbladet og medlem av redaksjonsgruppen for tidsskriftet OEI. Arbeider for tiden på et prosjekt om konseptkunstens historie i Sverige.
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.
This year´s Skulptur Projekte Münster is invested in a socially paralyzed and market-oriented public sculpture not much different from the kind it was once inititated to counter.
The international exhibition at the 57th Venice biennial makes an important, if not entirely convincing, case for the artist’s right to sleep at work and heal the planet through dance.
If Trump heralds a new world order, the critical models of contemporary art must also be reinvented. We need a communist poetics, a poetic principle for the political struggle.
An exhibition at Malmö Konstmuseum charts the effects of industrialization on Swedish society. It is in the places abandoned by history that our true future becomes visible.
Roxy Farhat’s exhibition at Index in Stockholm shows how feminist reason can emerge in the face of patriarchy.
Fondation Cartier shows how artists today try to invent a personal visual language where theory and politics are latent and unfathomable.
Måns Wrange is elected the new principal of Oslo National Academy of the Arts, a new konsthall opens in Stockholm, and other news from the Nordic art field.
‘If you don’t have or don’t control material, you have to become material yourself’, says Arthur Jafa, currently showing at Kunstnernes Hus in Oslo.
Kunstkritikk is supported by
