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.
Gitte Ørskou becomes the director of Moderna Museet, Danish Social Democrats issue a new cultural policy, and the gallery Signal in Malmö shares art prize with other cultural initiatives.
‘Artists find the measure of their own time just by doing their work’, says Julia Scher who began making art about surveillance long before the Internet really existed.
Ephemeral and relational art set the aesthetic agenda of the Oslo Biennial, which risks disappearing without a trace.
A new exhibition rehabilitates an overlooked Swedish modernist, for whom contemplation, rest and sensual pleasure were essential capacities of modern painting.
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