Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
Inuuteq Storch will be the first artist from the North Atlantic region of the Danish commonwealth to represent Denmark at the Venice Biennale.
In Odense Aka Høegh draws expressive lines between Greenlandic mythology and postcolonial identity, and points to the interconnectedness of everything.
Occult rituals meet techno raves as curator and Gothic high priestess Agnes Gryczkowska conjures up healing communities in Paris.
Who will save the city from the rich? A spectacular venue in central Copenhagen forms a tight framework for Vermilion Sands’s softly curated show.
Dana Schutz paints human foolishness with expressive gestures, large formats, and thousands of references. Yet it feels as if something remains unsaid.
Institutional critique or crime scene? Finn Reinbothe’s show at Avlskarl Gallery leaves most things up in the air.
‘When I saw Van Gogh drenched in soup, I felt an ache in my chest. At first, I thought it was anger, but then I realised it was hope!’, says artist Karin Lorentzen.
Olof Olsson’s info comedy remains well-written, toe-curling, and entertaining, but leaves little room for doubt and vulnerability.
Fostering young talent is a focus area on the Danish art scene, but attention is seldom paid to what happens when artists pass away. Heirloom is a new organisation for neglected archives.
A small-scale Zoe Dewitt retrospective in Paris connects queer theory and occultism with surprising ferocity.
Tijana Mišković believes that art can convey painful experiences of war and displacement, even to those without first-hand knowledge of them. She has arranged an exhibition featuring Danish artists with roots in the former Yugoslavia.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.
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