Dealing with bad art, the book Bad Writing is gloriously perverted in places. But it is also a slightly surly attack on what it calls ‘political correctness’.
Cécile B. Evans’s biennial work is even more splendid in Aarhus than in Berlin, but in a way this also accentuates the video’s strange sense of treading water.
– The biennial format allows us to face globalisation head on, says Lars Bang Larsen, who is co-curator of the recently opened São Paulo biennial.
– I see my work as an attempt at hacking the virtual pornographic body, says Sidsel Meineche Hansen, whose exhibition at Trondheim Kunstmuseum opened yesterday.
Ulrik Heltoft’s art is characterised by a sophisticated approach to the medium of film. It is currently strutting its stuff at Gl. Holtegaard, full of closed-up spaces in the vast cosmic loop.
The group exhibition Varulv! at Overgaden in Copenhagen shapeshifts its way through contemporary political spin. Language is God and art dances on the peripheries like elusive ghosts.
American pennies glued onto shoes, branches and underwear. Lina Viste Grønli has created the perfect exhibition at gallery Christian Andersen in Copenhagen.
– Most people seem to understand that I am dancing to my own tune, says Marvin Gaye Chetwyn. Her performance-workshop on Saturday inaugurates Bergen Assembly 2016.
Janus Høm conducts psycho-social exorcisms on Bornholm and in the latest exhibition at the exhibition venue Toves. Total self-absorption is perfected here.
– There is a specter of populism haunting the political field today, says director of Kunsthalle Wien, Nicolaus Schafhausen, prior to the opening of the exhibition Political Populism.
Who invented cyberspace? More than a decade before William Gibson defined the concept as a digital hallucination, two Danish artists formulated a vision about cyberspace without the use of computers.
The wish to compromise sometimes gives the Danish art scene a ‘Truman Show’ feel, says Yvette Brackman, whose new exhibition, opening at Overgaden tonight, contains both theatre and therapy.
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.
