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. Stine Hebert
and Johanne Løgstrup have set up 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.
How crisp can an exhibition on Surrealism get? Den Frie Centre of Contemporary Art shows the way.
Kinga Bartis’s works speak into the dominant feminisms and surrealisms of our time, but successfully evades all the words.
In Dakar, art arises from a sense of absolute necessity. That makes Dak’Art a biennial that holds together an entire continent.
Anonymous threats of violence are the culmination so far of the discussion surrounding the Palestinian artists’ group The Question of Funding and its participation in Documenta 15.
These days we see a yearning for the past and a movement towards the transhuman, observes Uffe Isolotto, the artist behind the Danish Pavilion in Venice.
Top marks in art-historical awareness for new young painters at Galleri Nicolai Wallner. Fortunately, they’ve got even more up their sleeves.
Angels disappearing in the fog and an exhibition so mellow you felt like having tea with it. Louise Steiwer looks back at the year’s best art experiences.
Dina El Kaisy Friemuth’s insistently minimalistic exhibition shows us what remains when we repatriate stolen artefacts.
What will we remember from the year in art 2022? Today’s contribution is by Claudine Zia, writer at Kunstkritikk and one of the founding members of The Union.
Christmas is here! Milou Allerholm opens the first door in Kunstkritikk’s advent calendar.
Do art institutions have a particular obligation to assess the ethics of their sponsors? Directors of museums and exhibition venues in Scandinavia answer that question.
In Germany, the large-scale commemoration of Michel Majerus’s untimely death provides an opportunity to revisit the 90s as a decade of both lost optimism and sinister beginnings.
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