Extremely unpleasant exhibition in Berlin. Are Mire Lee’s works innocent victims of H. R. Giger’s perversions, or is this a case of mutual fetishism.
‘If a culture is not active it ossifies and becomes a museum exhibit. And if I’m not allowed to use it, who is?’ Jessie Kleemann performs Greenland’s cultural shifts with blubber, blood, and beads.
Tomomi Yamakawa’s “group show” gently re-enchants natural and industrial design through small and delicate interventions.
At Sorø Art Museum, Peter Bonde engages with the past and role models in an exhibition that refuses to be retrospective.
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.
Lee “Scratch” Perry’s entire persona and output comprise a complex Gesamtkunstwerk, a vast collage with roots dating back to 1958.
While Lars Vilks’s death is exploited by the media to hawk sob stories and political ideology, art critics are competing for the position of his most devout follower.
The story of the museum that lent Jens Haaning half a million Danish kroner, which is now gone, has become world news. We spoke to the artist and followed the money – and the story behind a work of art.
The Helsinki School started as a gallerist’s ambitious idea, became a huge commercial success, and put Finland on the international art map. But at what cost?
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