‘Artists find the measure of their own time just by doing their work’, says Julia Scher who began making art about surveillance long before the Internet really existed.
48 hours with teargas, helicopters, Bikers For Trump and the birth of a new kind of popular resistance.
Set against an iconic cinematic backdrop depicting the streets of New York, the Frieze Los Angeles art fair has every opportunity to juggle with the artificial, the commercial, the superficial – and Hollywood.
During the 2010s it has become apparent that the fascination of the archive can not be separated from the ideology of the digital data base.
This spring, nine Scandinavian writers, critics, and curators will share their reflections on Nordic contemporary art from the decade we just left behind.
Astrup Fearnley Museum has not renewed its sponsorship agreement with Lundin Norway. The museum will review its entire sponsorship profile when Solveig Øvstebø takes over as director in May.
Kunstkritikk is supported by
