At a time when Sami artists are increasingly visible, Britta Marakatt-Labba’s unsettling of ties between biography, identity, and content feels both necessary and urgent.
Matthew Rana
All articles by Matthew Rana
A Taste for Heaven
Art historian T. J. Clark’s new book sketches a vision for a new political Left through the affective registers and subtleties of painting.
American grotesque
Molly Lowe’s garish performance at Lilith Performance Studio in Malmö on Saturday was an exercise in totalitarian aesthetics.
A Topology of Relations
French artist and musician Félicia Atkinson’s exhibition at Krets in Malmö traces a series of drifts through the troubled landscapes of the American Southwest.
Huddled Around the Fire
An exhibition by a group of young, international painters in the small city of Växjö engages with the bucolic setting of the Swedish countryside, fir tree, sauna and all.
Art Is Somewhere Else
The most compelling work in Vassil Simittchiev’s exhibition at Lund’s konsthall reinstates the everyday as a site of aesthetic experience and transport.
Not Quite Human
Hanni Kamaly´s work about racial violence invites debate about cultural appropriation, but ultimately opens onto more complex questions of collective remembrance.
Freedom Faded to a Dream
The partial and contested history of the Scandinavian faction of the Situationist International is surveyed in an ambitious exhibition at Kristianstad Konsthall.
The Mistress of the House Is the Most Fearsome of All Beasts
At Lunds Konsthall, Simryn Gill adopts the serpent as an emblem of the exhibition’s generative ambivalence.
Crushed and Folded by Management
Hundreds of handwritten notes crowd the gallery in Caspar Forsberg’s exhibition at Johan Berggren Gallery, linking art and life with a perverse mix of optimism and exhaustion.
In the Wake of Brexit
Between Brexit and last week’s crash of the British Pound, Frieze London took a tentative approach, evoking the 90s but failing to draw from the period’s exuberance.
A Fugitive Vocabulary
A founding member of Chilean conceptualist group CADA in the 1980s, Juan Castillo insists on art’s social function as a means toward collective liberation.
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