‘In order to move on, you must also turn back’, says Lisa Rosendahl, curator of the 10th edition of the Göteborg Biennial, opening this Saturday.
Can Tori Wrånes’s melancholic fairy-feminism save us from patriarchy?
Maria Lindberg’s exhibition at Malmö Konsthall is a textbook example of how stripped-down everyday scenarios produce absurd effects.
Kunstkritikk’s own writers and invited guests share their top picks from the art scene of 2016. Today: Fredrik Svensk.
Lina Selander’s exhibition at Göteborg’s Konsthall shows that she is an enlightenment artist. Her work is about specific ways of creating distinctions and stopping the flow of images.
Nina Möntmann is a curator and theorist, and Goran Hassanpour is an artist. We met them for breakfast at Hotel Orion.
This year’s Moderna Exhibition showcases art from the Baltic region, mixing work from different epochs. The result is an exhibition without a guiding idea, so contemporary that it falls out of step with the times.
A show in Malmö reminds us that megalomaniacal ideas are best regarded as mind games.
Francis Picabia was a maximalist, but it is his most minimal compositions that score the most points at a show of his late works in Paris.
A new book uncovers the Nazi past of Swedens foremost postwar photographer.
What is worth going to war for? ask Inuk Silis Høegh and Asmund Havsteen-Mikkelsen in a 2004 work that is now more topical than ever.
Kunstkritikk is supported by
