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.
What will we remember from the year in art 2022? Today’s contribution is by Claudine Zia, writer at Kunstkritikk and one of the founding members of The Union.
Christmas is here! Milou Allerholm opens the first door in Kunstkritikk’s advent calendar.
Do art institutions have a particular obligation to assess the ethics of their sponsors? Directors of museums and exhibition venues in Scandinavia answer that question.
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.
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