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.
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.
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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