Mamma Andersson oscillates between landscape drama and silent homes in a major solo show at Louisiana presenting confident paintings with a laid back vibrating undercurrent.
‘In many ways, the project conducts fundamental research into how to make exhibitions.’ Nina Beier and Simon Dybbroe Møller give a glimpse of their micro-project space, AYE-AYE.
Art collective SIGNA has taken over the new art venue in Copenhagen’s Ørestad district with a spectacular nightmare exposing the beautiful disasters of capitalist reality.
In a winter of no content, can memories of artworks activate our sense of wonder when the works themselves are absent?
Which crisp see-through paintings stopped writer Nanna Friis in her tracks in 2020?
The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
With doomsday vibes in Berlin, blockchains in Hamburg, and an art scene brat pack in Zurich, there’s every reason to renew your BahnCard. Here’s a bird’s-eye view of the autumn’s exhibitions north of the Alps.
With the show Hummings, KØS Museum shows its ambitions to move its programme towards public space, but delivers unconvincing results.
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.
Kunstkritikk is supported by
