Which exhibitions will we remember from 2020? Today, art critic Louise Steiwer responds.
An artistic parade and healing session undertaken Sunday aimed to remove the social housing community AKB Lundtoftegade from the so-called ghetto list – a list with fateful consequences.
The liberating potential of partying forms the focal point of Esben Weile Kjær’s outstanding performance, which portrays millennials as a generation poised between anxiety and self-staging.
Criticism has moved from the daily newspapers to niche media. This should be reflected in Denmark’s new media policy agreement, says Kamilla Löfström of United Critics Denmark.
CAMP’s Frederikke Hansen joins the curatorial team behind the next Documenta, while the Trampoline House becomes a ‘lumbung partner’.
The 2020 edition of the Nordic art fair Chart will feature women artists only, whose works will be displayed at the participating galleries’ own venues throughout the Nordic region
The artists and the mentally ill have a fount of relevant experiences which the whole community can learn from in the current crisis, says Jakob Jakobsen.
The impact of the coronavirus will be felt for years to come, says a range of key players.
The Council for Visual Arts has introduced gender quotas for all art purchases made by the City of Copenhagen. Council member and director of Kunsthal Charlottenborg Michael Thouber hopes that others will follow.
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.
Magnus Karlsson Gallery gives a rare and extended glance at Bruno Knutman’s particular form of radical play in a show focused exclusively on his drawings.
Santiago Mostyn’s exhibition at Andréhn-Schiptjenko in Stockholm is a hypnotic spatial montage which reveals the contours of an emergent Black subjectivity.
In highly ornamented pieces that seduce the eye, Ebony G. Patterson touches deep colonial wounds and stresses the need to discuss them – without ending up in a muddle.
Partner of ex-minister used all available channels to throw suspicion on the play Ways of Seeing, according to Oslo District Court. Director Pia Maria Roll is relieved over the verdict passed on Friday.
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