Kristian Vistrup Madsen (f. 1991) er dansk kulturskribent og oversætter. Bosat i Berlin og uddannet i litteraturvidenskab og skrivekunst på Goldsmiths og Royal College of Art i London. Har bidraget til bl.a. Artforum, Frieze, Afterall og Glänta.
Art is artistic again: sometimes enchanting, sometimes plain commercial. But with formal criteria long left behind, how do we tell the difference?
In Brussels, an exhibition about Hilma af Klint and likeminded spirits, asks what happens when Sweden finally lets her hair down. The answer – in part – is that she is hospitalised.
In Germany, the large-scale commemoration of Michel Majerus’s untimely death provides an opportunity to revisit the 90s as a decade of both lost optimism and sinister beginnings.
Two Jon Rafman shows in Berlin suggest a return of post-internet amorality. Or that young people are tired of identity politics.
The kunstverein is a cornerstone of the sturdy German art system, believes Milan Ther, the new director at Kunstverein in Hamburg.
As a new wave of sentimental and reactionary painting grows tiresome, Allison Katz’s exhibition at Camden Art Centre offers a wake-up call.
With doomsday vibes in Berlin, blockchains in Hamburg, and an art scene brat pack in Zurich, there’s every reason to renew your BahnCard. Here’s a bird’s-eye view of the autumn’s exhibitions north of the Alps.
Kirsten Ortwed’s unsentimental art appears the antithesis of our fearful contemporary. But how do you become a hardcore Rhineland sculptress? Is there a recipe?
The Berlin Biennial is taking place against all odds. But adamant to meet the current crisis, the exhibition’s progressive politics makes for a conventional and repetitive viewing experience.
Christian Falsnaes delves into the grey area between entertainment and submission, and delivers on both. It’s effective as well as aggravating.
The world becomes so depressingly flat when there’s no difference between a face and a selfie. But how do we keep reality from being swallowed by its image, and art from being swallowed by reality?
The New York collective DIS was always grappling with the texture of the present. Here, they talk irony, politics, and engagement, from the Berlin Biennial to the streaming service dis.art.
Swedish-born Valeria Montti Colque will represent Chile at the 60th Venice Biennial, an event of great symbolic significance for the Chilean diaspora.
If truth is the first casualty of war, art is one of the next. This year’s Kyiv Biennial is a struggle of resistance.
Edith Hammar takes us to the queer Helsinki of the 1950s.
Curators’ efforts to blur formal hierarchies tend to veil the power they themselves wield.
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