Around 1996
Esben Weile Kjær is having a ball in a show that reveals how shared history is reduced when art becomes embroiled in self-actualisation and experience economy.
Esben Weile Kjær is having a ball in a show that reveals how shared history is reduced when art becomes embroiled in self-actualisation and experience economy.
One feels close to the art-historical scene of the crime in OEI’s thematic issue on concept art in Sweden.
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.