At last, Greenland’s largest cultural event is about the art and survival of Indigenous Peoples.
Like a safety pin in a school uniform, Sofie Winther’s kindergarten is an emblem of punk resistance.
There is widespread frustration with what contemporary art has become, says the British critic Dean Kissick. Now his much debated 2024 essay is being published in an extended Danish version.
At the Copenhagen art festival Under, the young scene is clearly in control. But is it also a bit too self-aware?
Inuit must learn from tradition and living memory in order to look ahead, was the message at a recent seminar on Greenlandic performance traditions.
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.
Palais de Tokyo struggles to revive the once passionate affair between American art and French thought.
Stockholm’s Gallery Weekend let it all hang out.
Britain’s bawdiest artist defanged in Helsinki.
Arthur Köpcke arrived in Copenhagen in 1953. Not long after, the city became a centre of the European avant-garde. When might that happen again?
