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.
Bonniers Konsthall develops Peter Weiss’s novel The Aesthetics of Resistance into an exhibition, but its core theme – class struggle – is conspicuously absent.
Kirsten Ortwed has spent a lifetime pushing sculpture to the edge. On the Danish isle of Bornholm, her art fits in almost suspiciously well.
Bonner Kunstverein show plays with split vision.
Three exhibitions – by turns glossy, quiet, and flashy – fit Copenhagen’s event-packed month like a glove.
