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.
Will Grief and Grievance: Art and Mourning in America be as formative as Documenta 11 was at the start of the millennium? A report from a panel debate in New York.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
Fashion week in a time of COVID-19 offers new digital-first strategies that increasingly prevail in the art world. What’s at stake when everything turns into viral content?
In a winter of no content, can memories of artworks activate our sense of wonder when the works themselves are absent?
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