Elina Merenmies’s retrospective in Turku draws on her Christian Orthodox faith to deepen our understanding of an oeuvre reverberating with grace.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
Serlachius in Finland goes all in with a sprawling, amusing and disturbing show about masks.
Tschabalala Self’s Finnish debut is a celebration of the artist’s neighbourhood in Harlem.
Nina Beier reminds us that no relationship should be considered unexpected in the 21st century.
Edith Hammar takes us to the queer Helsinki of the 1950s.
Ryoji Ikeda’s exhibition in Helsinki is a perfectly executed sensory manipulation.
Three exhibitions in Helsinki attest that tradition still weighs heavily on Finnish photography, despite the new generation’s playful and crowd-pleasing attitude.
Painter, draughtsman, museum director, thinker… The multifaceted Romanian artist Horia Bernea is featured in a dreamy retrospective at Kohta in Helsinki.
The second edition of the Helsinki Biennial is soaked in techno-new age mumbo-jumbo.
At Moderna Museet, Nan Goldin’s unyielding world of images is given a luminous setting.
For six decades, Sinikka Kurkinen has created great works without caring about the demands of the art world.
The Apocalypse revisited, pioneering sound art, and an unsettling proposal marks the Swedish art season.
A new reality show about Odd Nerdrum’s family teases out the irony of the classical painter’s contempt for the present.
Palestine, Indigenous art, the Venice Biennale, and mood as a benchmark for quality. These are the articles that engaged our readers the most in 2024.
Kunstkritikk’s editor-in-chief Mariann Enge reflects on the art that captured the state of the world in 2024.
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