Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
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.
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.
Joar Nango’s festival exhibition at Bergen Kunsthall is an inspiring invitation to expand our minds and knowledge and to carry out fundamental change.
The Berlin Biennial is taking place against all odds. But adamant to meet the current crisis, the exhibition’s progressive politics makes for a conventional and repetitive viewing experience.
Criticism has moved from the daily newspapers to niche media. This should be reflected in Denmark’s new media policy agreement, says Kamilla Löfström of United Critics Denmark.
The Work of Mourning at Bonniers Konsthall not only speaks to the current state of affairs, it also emits the sincerity of experiences connected to real change.
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