Børre Sæthre’s monuments to cruising culture turn more-or-less secret spots for casual sexual encounters into public spectacles.
Art historian and regular contributor to Kunstkritikk Jakob Myklebust Huus presents his three favourite exhibitions from 2022.
Nora Adwan meets an ongoing moral crisis with beauty and dogged optimism.
Everything you need to dream as Valeria Montti Colque’s recreates the Chilean Pavilion in Stockholm.
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.
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