Panteha Abareshi’s inimitable exhibition focuses on bodies with disabilities. However, we have to bypass a didactic aesthetic to get to the radical material.
In The Kingdom: Exodus, Lars von Trier returns to his cult 90s TV series about Denmark’s premier hospital. Sadly, its outmoded satire wilts under the gaze of contemporary worldviews.
In Jakob Kudsk Steensen’s digital swamp, we don’t need boots. Despite the use of impressive technology, the supposedly natural settings on the big screens feel as well-groomed as a suburban lawn.
Arthur Jafa’s exhibition at Louisiana offers a virtuosic history lesson on Black American culture. It also deals a welcome blow to Danish racism.
Ursula Reuter Christiansen tears up the soil and the canvas with mythology and history, allowing her female subjects to break free from oppressive norms.
Jesper Just extends his film across the many rooms of Kunsthal Charlottenborg to tell stories about the architecture of the body, and sensory exhaustion in our present day.
Anton Vidokle’s cosmo-philosophical films push pre-revolutionary man towards immortality. The result is pan-historic sci-fi of the highest calibre.
After art’s artistic turn, mood is the new benchmark for quality in contemporary art, positing a philosophically sustainable alternative to spectacle and newness.
This year’s Lofoten International Art Festival delves into local history while emphasising the need to connect with the world.
After a year of Israeli war on Gaza and increased pressure on the arts, the Danish-Palestinian artist Larissa Sansour opens two major exhibitions in the Nordics.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
Kunstkritikk is supported by
