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.
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.
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?
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.
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