Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
While Lars Vilks’s death is exploited by the media to hawk sob stories and political ideology, art critics are competing for the position of his most devout follower.
Social justice movements have had a strong impact on the Swedish art world, but whether it has actually become more permissive is up for debate.
Moderna Museet’s presentation of the acclaimed modernist sculptor makes the enduring radicalness of his work strikingly evident.
The debate about new anti-racist policies at the University of Art, Craft, and Design in Stockholm reveals art’s embrace of a representative civil service culture.
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.
NFTs demonstrate art’s license to make commodities out of almost anything.
The Munch Museum was recently the scene of a climate-activist performance stunt.
Philosopher Yuk Hui asks how art can transform technology.
‘I never seriously thought the textiles would ever be returned to Peru’, says Oscar Lara, who has worked for years on a project involving the Paracas textiles at the Museum of World Culture in Gothenburg.
Kunstkritikk is supported by
