Helga Christoffersen’s delectable group show at Galleri Susanne Ottesen leaves me angry, excited, and hungry.
– Catastrophe is a recurring figure in Greek history, says Angela Melitopoulos, the artist behind the solo exhibition opening tonight at Kunsthal Charlottenborg in Copenhagen.
Elmgreen & Dragset’s minimalist starfish installation in Paris resonates directly with the city’s self-image after the terrorist attack in 2015.
– It was quite an eye-opener to meet people from a completely different system, says gallerist Nicolai Wallner about his first encounter with art.
Tom of Finland meets Clan of the Cave Bear in Rasmus Myrup’s first-ever institutional show at Tranen.
– The art world has lost its bearings and forgotten that it’s all about art, says David Risley, who is now closing his Copenhagen gallery after 20 years in the business.
– When I see a spider, do I smack it?, asks Otobong Nkanga, whose exhibition at Kunsthal Aarhus shows how all negotiations with one’s surroundings are political in nature.
The brighest superstars of contemporary art drag the past through a wormhole into an uncertain future in Welcome Too Late at Kunsthal Charlottenborg in Copenhagen.
With his nonchalant staging of Warhol’s personal possessions, Alex Da Corte seems to ask if we have unrealistic expectations of the objects we surround ourselves with.
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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