Rosemarie Trockel’s monumental exhibition in Frankfurt is an overwhelming encounter with the intensely idiosyncratic abundance from which her art is composed.
Whether sculptures can be true is probably impossible to determine. Benjamin Hirte has made four monoliths: an attractive and funny invitation to contemplate the word.
Jeremy Deller’s exhibition in Copenhagen has a densely symbolic Britannia vibe, but his watchable videos counterbalance the giggly atmosphere with fewer jokes and greater nuance.
Kunstkritikk’s Nanna Friis found one of the year’s highlights between a yes and a no.
Le Bicolore in Paris is currently awash in Danish art from the 1960s to today, but the curatorial insistence somewhat overshadows all the good stuff on display.
An all-female exhibition at Galleri Nils Stærk cannot hide the unforgivable fact that the gallery’s roster of 24 artists includes only two women.
The Light & Space movement takes centre stage in Copenhagen Contemporary’s ‘biggest exhibition to date’, but this vast sea of light drowns out the works and their ostensible magic.
See which of this year’s exhibitions Nanna Friis thinks was the kind of
fiction that makes reality clearer.
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?
Swedish-born Valeria Montti Colque will represent Chile at the 60th Venice Biennial, an event of great symbolic significance for the Chilean diaspora.
If truth is the first casualty of war, art is one of the next. This year’s Kyiv Biennial is a struggle of resistance.
Edith Hammar takes us to the queer Helsinki of the 1950s.
Curators’ efforts to blur formal hierarchies tend to veil the power they themselves wield.
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