Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
The Sámi Pavilion is a historical recognition of indigenous soveregnity, and a surprisingly traditional approach to the idea of a pavilion.
A new exhibition at Lund Konsthall holds the key to a progressive, and playful, debate on public art.
The record-breaking budget is underplayed as Moderna Museet exhibits its corona acquisitions, focusing on works that offer aesthetic and thematic reassurance.
Facing yet another Covid spring, Sweden’s exhibition season will be locally produced and unsensational. Nevertheless, there are some gems to look forward to.
Which of this year’s exhibition swept Kunstkritikk’s Swedish editor off his feet?
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?
In Nikita Teryoshin’s exhibition in Oslo, a coffee mug encounters high-tech missiles on a trade fair table.
The Arts and Culture Magazine Publishers Forum announces an open call for a writer to join a research trip to Oslo.
Cecilie Norgaard at O-Overgaden is painting about painting in the best possible sense.
Nikolaj Kunsthal tries to turn Lars von Trier’s films into visual art, but ends up advertising for the genius.
