Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Three exhibitions – by turns glossy, quiet, and flashy – fit Copenhagen’s event-packed month like a glove.
SUPERFLEX’s rescue ark is not intended for humans alone. Yet it is laden with human products and critiques of capitalism – all dressed up as capitalism.
Magnetic, almost poisoned paintings looking like haunted poems are among this year’s unforgettable works according to critic Nanna Friis
While Gaza is being razed to the ground, an exhibition strives to present Palestinian art to a global audience. Gaza Biennale’s Danish Pavilion opens this week.
Robert Longo’s charcoal drawings are utterly absorbing – right up until they become shallow.
Together with evening school students and diner staff, Sara Sjölin has created an ode to industrial kitchens and unappetising food, to teenage nonsense and Waldorf philosophy.
Tris Vonna-Michell spools through his late father’s enormous body of material with a gaze that develops the accumulation rather than the human.
Taryn Simon has filled Cisternerne with the beautiful voices of twenty professional lamenters, but the magnificent sadness does not really hit home.
FOS’s exhibition at Nils Stærk in Copenhagen is full of language, but as is often the case when shows are best, the words are not really uttered.
An extreme amount of things alongside an extreme amount of words make it difficult to glimpse (and apply) the creativity in Louisiana’s latest themed exhibition.
Rosemarie Trockel’s monumental exhibition in Frankfurt is an overwhelming encounter with the intensely idiosyncratic abundance from which her art is composed.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.
