Cecilie Norgaard at O-Overgaden is painting about painting in the best possible sense.
Eliyah Mesayer’s fictional state has pitched its black tents in Aarhus. For those already familiar with Illiyeen, the project appears to be stagnating. Perhaps that is the point.
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.
Cecilie Norgaard at O-Overgaden is painting about painting in the best possible sense.
Nikolaj Kunsthal tries to turn Lars von Trier’s films into visual art, but ends up advertising for the genius.
What happens when the body falls apart? Goldin+Senneby are known for their brainy conceptualism. Now they have created their most personal exhibition yet.
Ghost photography has resurfaced in museum image banks.
