Synnøve Persen’s landscapes imagine the Arctic beyond the tourist sublime.
Time folded itself into perfect layers of puff pastry during one of critic Maria Moseng’s most cherished art experiences this year.
Britta Marakatt-Labba’s exhibition at the National Museum in Oslo confirms that alternative imaginaries to capitalism do exist.
In Apichaya Wanthiang’s solo show at Munch Museum, intimacy is accompanied by a yearning for closeness.
For Synnøve Anker Aurdal’s vibrant textile work, the Astrup Fearnley Museum’s intrusive architecture is an easy match.
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
Matthew Barney’s rebirth ritual at the Astrup Fearnley Museum makes fertile detours from the cult of his own person.
In spite of some gentle institution-critical kicks, Elmgreen & Dragset seem perfectly at home in Astrup Fearnley’s homoerotic and readymade-fetishised universe.
What does it mean to be important in the art world? Marie Karlberg’s Stockholm show answers the question, one oversized business card at a time.
The feminist exhibition No Master Territories at Kunstnernes Hus unfolds as an open research project that can be extended and reconfigured through new voices.
Strong reactions from European leaders to Russia’s participation in this year’s biennial. Danish minister open to boicott.
Contemporary art’s rhetoric of doom has become a comfortable cliché, as the scramble for relevance turns resistance into a risk-free, legible aesthetic.
