Swedish abstract painters Ragna Bley and Inger Ekdahl share an interest in automated processes. But at Malmö Konsthall, their works do not complement each other.
Ann Veronica Janssens offers us a lens through which to see the world anew. Banal, perhaps, but also extremely effective.
Anne Haaning’s video montage is an elegant reminder of how an important chapter in Danish colonial history disappeared from our collective memory.
Here are the year’s three most memorable art events according to Louise Steiwer, one of Kunstkritikk’s regular contributors.
The Danish Arts Foundation changes its procedure: now, artists can apply to represent Denmark at the 2021 Venice Biennale.
Partnership between Kunsten in Aalborg and Louisiana in Humlebæk will make Poul Erik Tøjner responsible for programming at both venues. The job as director in Aalborg is posted anew.
Lea Porsager combines the zany with the stringent as she casts herself as a sex-obsessed shaman, conjuring images of things that are not visible to the naked eye.
Our present day has a desire for images so fierce that it threatens to destroy us, according to Irena Haiduk, whose exhibition at Kunsthal Charlottenborg is shrouded in total darkness.
Social Democrat Joy Mogensen becomes Denmark’s new minister of culture, curators named for Alt_CPH 2020, and other news from the Nordic art field.
Gitte Ørskou becomes the director of Moderna Museet, Danish Social Democrats issue a new cultural policy, and the gallery Signal in Malmö shares art prize with other cultural initiatives.
The new museum Kunstsilo in Kristiansand is fully financed, Galerie Nordenhake will receive an award at Art Basel, and a Danish exhibition of political art sparks controversy before the opening.
In her beautiful sci-fi noir installation at the Danish Pavilion in Venice, Larissa Sansour asks what the memory of national identity means once a tsunami has washed away everything.
Set against an iconic cinematic backdrop depicting the streets of New York, the Frieze Los Angeles art fair has every opportunity to juggle with the artificial, the commercial, the superficial – and Hollywood.
During the 2010s it has become apparent that the fascination of the archive can not be separated from the ideology of the digital data base.
This spring, nine Scandinavian writers, critics, and curators will share their reflections on Nordic contemporary art from the decade we just left behind.
Astrup Fearnley Museum has not renewed its sponsorship agreement with Lundin Norway. The museum will review its entire sponsorship profile when Solveig Øvstebø takes over as director in May.
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