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.
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.
In Nikita Teryoshin’s exhibition in Oslo, a coffee mug encounters high-tech missiles on a trade fair table.
The Arts and Culture Magazine Publishers Forum announces an open call for a writer to join a research trip to Oslo.
Cecilie Norgaard at O-Overgaden is painting about painting in the best possible sense.
Nikolaj Kunsthal tries to turn Lars von Trier’s films into visual art, but ends up advertising for the genius.
