Frans Josef Petersson är sedan 2014 svensk redaktör för Kunstkritikk. Han är född 1977, boende i Stockholm och mångårig medarbetare på Aftonbladets Kultursida.
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.
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.
The Swedish government’s plan to create an institutional behemoth, Moderna, is ill-advised and reckless.
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.
