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.
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.
A new reality show about Odd Nerdrum’s family teases out the irony of the classical painter’s contempt for the present.
Palestine, Indigenous art, the Venice Biennale, and mood as a benchmark for quality. These are the articles that engaged our readers the most in 2024.
Kunstkritikk’s editor-in-chief Mariann Enge reflects on the art that captured the state of the world in 2024.
Winds of change blew across Freetown Christiania this year, bringing Kunstkritikk’s editor in Copenhagen hope that Danish art will one day be renewed there.
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