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.
Lina Bjerneld shows how the current state of exception is an extension of yesterday’s political malaise.
Decolonising means changing the fundamental material relations that define our lives.
The rush to make online substitutes for events derailed by the COVID-19 pandemic promises an influx of viewing technologies that approximate real life.
The 22nd Biennale of Sydney is a highly located and physical exhibition experience which, after being open for just 10 days, can only be accessed online.
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