What is national identity in the wake of a climate apocalypse? Larissa Sansour on her contribution to the Danish Pavilion in Venice.
Critique and curiosity go hand in hand in Sidsel Meineche Hansen’s queer-feminist shake-up at Kunsthal Aarhus.
This year’s instalment of the alternative art fair Alt_Cph manifested itself as a performance festival offering a queered blast of fresh air on the Copenhagen art scene.
– Planetary thinking is feminist thinking, state the curators behind Laboratory for Aesthetics and Ecology as they publish a book about hydrofeminism.
Nairy Baghramian’s sculptural work at the National Gallery of Denmark is an eloquent image of institutional porosity in an age where the institutional is something performed.
– I don’t know if I really believe in public art as such, says Dan Graham, who is also not too fond of institutional critique, but loves astrology. His Copenhagen show opens tonight.
– It is important to insist on a non-Eurocentric, post-colonial and queer-feminist position, says Carla Zaccagnini, new professor at the Royal Danish Academy of Fine Arts.
– Goethe was wrong in believing that certain colours produce specific emotions, says artist Henriette Heise, who has devised a new theory of colour.
Everything is written in algae dust in Astrid Myntekær’s densely referential installation where myths and science contribute to a meditation on the world’s reduced lung capacity.
Contemporary art’s rhetoric of doom has become a comfortable cliché, as the scramble for relevance turns resistance into a risk-free, legible aesthetic.
Synnøve Persen’s landscapes imagine the Arctic beyond the tourist sublime.
Klara Lidén has turned professional, keeping her body strong and her gaze fierce. Will she still get hurt if she slips off the knife-edge she’s dancing on?
At Moderna Museet Malmö, John Skoog asks if beauty can endure the crude logic of power.
