Norwegian artists mobilise, the first comprehensive Greta Knutson-Tzara exhibition, and new initiatives in Copenhagen: a kunsthalle and yet another commercial art fair.
Debates on cultural politics in Denmark and Sweden, a five-year programme of art in public space in Oslo, and three Nordic artists represented in the Venice Biennial main exhibition.
Visual art events on International Women’s Day, nominees for the Norwegian Art Critics’ Prize announced, and a new masters program in curating and art criticism.
Two Nordic biennials reach their tenth editions, Louisiana has troubles with a Swiss sponsor, and there is “a real crisis” with regard to acquisitions in Norwegian museums.
Record visitor numbers leads to economic crisis at the Swedish National Museum and The World’s Northernmost Chinatown opens in Kirkenes.
A decrease in funding hits the art scene in the South of Sweden. In Oslo, seven galleries arrange a new art fair. And Kunstkritikk goes international.
Sweden’s new cultural minister says “creativity should flow freely,” and in Denmark there is new evidence of the museum sector’s contribution to society.
After a new government was formed in Sweden today, state museums will remain free of charge. Also in the news: An art plan for Oslo and Elmgreen & Dragset in The Simpsons.
A workshop for artists reopens in Oslo, Nasty Women exhibits in Stockholm, and the Norwegian National Museum reveals a new visual identity.
– Creating spaces for exchange outside of normal structures is incredibly important, says Nicholas Jones, director of Praksis. The residency programme has become an important part of Oslo’s art scene.
Kunstkritikk’s stay in Nuuk turned out to be a transformative crash course in Greenland’s situation, history and culture.
Ai Weiwei withdraws from two exhibitions in Denmark out of protest against the new Danish asylum seeker laws. ARoS regrets his decision – Faurschou Foundation gives him their full support.
Norwegian artists mobilise, the first comprehensive Greta Knutson-Tzara exhibition, and new initiatives in Copenhagen: a kunsthalle and yet another commercial art fair.
SPEED 2 at Malmö Konsthall highlights our lack of genuine filmic communication.
In constellations of kitschy furniture, Henrike Naumann’s show at KOW in Berlin addresses the still-fraught aftermath of German reunification.
How can a film be a landscape? This is at the core of Swedish artist John Skoog’s first feature-length film, showcased at the CPH:DOX festival opening today.
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