Nikolaj Kunsthal tries to turn Lars von Trier’s films into visual art, but ends up advertising for the genius.
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.
In Vienna, Mumok’s new director Fatima Hellberg is quietly reshaping how we move through the museum. And how the museum moves through us.
In Oslo, Cecilia Vicuña presents two monumental collective works about the struggle for life in the sea.
The past haunts the present through the apparatuses that make our images in Lap See Lam’s exhibition at Henie Onstad Art Center.
A public event in Vilnius launching next year’s Baltic Triennial underscored the radical difference between being claimed by war and claiming detachment from it.
