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.
Sergey Bratkov’s exhibition at Kohta in Helsinki is a sophisticated slap in the face.
ARS22 has been publicly accused of spreading a load of hot air, but turns out to be a convincing show about our longing for meaning, community, and spirituality.
Daniel Buren’s labyrinthine installation in Espoo makes it easier to confront the overwhelming sense of anxiety that defines the present moment.
Elina Brotherus and Hannele Rantala’s tête-à-tête at the Finnish National Gallery gravitates towards the dark.
Kiasma’s grand reopening and the return of a major international exhibition are among the highlights in Finland this spring.
Art critic Helen Korpak lists this year’s most invigorating exhibitions in Helsinki.
The Helsinki School started as a gallerist’s ambitious idea, became a huge commercial success, and put Finland on the international art map. But at what cost?
Traditions meet trends when the young generation takes on the possibilities of painting and textile work during the coming art season in Finland.
Suddenly, you know someone in Oslo who has started a new centre for contemporary art in Lusaka.
‘There is no doubt that she painted some of the works included in the Temple series’, says Daniel Birnbaum, editor of a new book about Swedish artist Anna Cassel.
The Iron Throne is vacant. Hardly any Norwegian artists have solo shows at the major museums, and everyone worries about sustainability.
This year’s first opening night in Copenhagen whetted our appetite for more. The season’s dictates are British 90s art, French 80s sculpture, and Georgian folk painting. Oh, and Arken is rebranding.
Kunstkritikk is supported by
