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.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.
