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.
After art’s artistic turn, mood is the new benchmark for quality in contemporary art, positing a philosophically sustainable alternative to spectacle and newness.
At a turning point for Berlin’s KW, Pia Arke makes her debut outside the Nordic countries, showing a third way between activism and abstraction.
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.
Nordic nostalgia and a fraught sponsorship collaboration at Market Art Fair in Stockholm.
Madeleine Andersson, Arvida Byström, and Tobias Bradford on embodiment and identity in the age of AI.
The inaugural exhibition of the New Museum’s expansion is undone by an inability to leave anything out.
A European tour of works by Frida Kahlo brings attention to the uncertain future of a collection rooted in Mexico’s cultural history.
