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.
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.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
The climate has no time to wait, and nature cannot hurry. Camilla Berner is raising a forest on the island of Ærø.
Manifesta 15 in Barcelona forces visitors to spend time in the periphery and confront the central issues of our time.
Allegations of sexual misconduct in a Vaginal Davis work at Moderna Museet raise questions about art’s toxic culture of privilege.
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