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.
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.
All pop songs are both home and away, love and pain, yours and no one’s. Does music deceive us? Are we too naive in our approach? Or is the most beautiful thing about pop music actually the treason itself?
How was your 2019? Here are the year’s three most memorable art events in Scandinavia, according to Kristian Vistrup Madsen, one of Kunstkritikk’s regular contributors.
Even in its struggle against kitsch, pop music is a flypaper for our memories. Can art be the same?
Anne Imhof’s new exhibition at Galerie Buchholz in Berlin makes a tantalising theatre of the zeitgeist. But what happens when the vape runs out of battery?
At Statens Museum for Kunst, Shahryar Nashat has produced a captivating immersive experience that is both seductive and claustrophobic.
An exhibition at Hamburger Bahnhof recasts Emil Nolde as a Nazi. But this makes no occasion to shame his art, but one for both correcting and complicating art history.
The market doesn’t want criticism, and criticism, to be of any value, shouldn’t want the market. Texte zur Kunst attempts to untie the knot.
Artist Germain Ngoma on why almost none of his work from the last twenty-five years has been shown in public, and his unremitting obsession with styrofoam.
Viktor Kopp’s new exhibition in Stockholm reframes the dichotomy between sensual and intellectual pleasure. He also returns to a favourite subject: chocolate.
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 freedom of art may be the single most disturbing phenomenon in a thoroughly organised democratic society – and its most shocking injustice.
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