What is worth going to war for? ask Inuk Silis Høegh and Asmund Havsteen-Mikkelsen in a 2004 work that is now more topical than ever.
Kunstkritikk’s Louise Steiwer looks back on a year of diaries sealed in bronze and a ghastly outlook on nature camouflaged by Romantic landscape paintings.
In her magnificent exhibition at Arken, Ursula Reuter Christiansen is a force of nature dancing among poppies and throwing eggs at bombs.
‘Photography is a direct extension of the eye. It’s history writing from our own perspective’, says Inuuteq Storch, the first Greenlandic artist in the Danish Pavilion at the Venice Biennale.
Apolonia Sokol found that voicing an opinion on the conflict in Gaza affected her career.
World heritage saw some grave anniversaries in 2023. Kunstkritikk’s Louise Steiwer dreamt herself back to Palmyra.
If truth is the first casualty of war, art is one of the next. This year’s Kyiv Biennial is a struggle of resistance.
The objects have vanished from Simon Dybbroe Møller’s display cases at Palace Enterprise. This only makes the desire for them all the stronger.
Not all instruments are tuned to perfection in Frederik Næblerød’s Masquerade at Gl. Holtegaard. I danced anyway.
A retrospective in Marseille wrests Algerian artist Baya free from the European tradition and offers an explicitly postcolonial and feminist reading of her work.
The autumn exhibition season comes into full bloom this week. The lushness is particularly striking among female artists – the young and the overlooked.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
Everything you need to dream as Valeria Montti Colque’s recreates the Chilean Pavilion in Stockholm.
A show in Malmö reminds us that megalomaniacal ideas are best regarded as mind games.
Francis Picabia was a maximalist, but it is his most minimal compositions that score the most points at a show of his late works in Paris.
A new book uncovers the Nazi past of Swedens foremost postwar photographer.
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