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.
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.
A public event in Vilnius launching next year’s Baltic Triennial underscored the radical difference between being claimed by war and claiming detachment from it.
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.
‘I take my position of power very seriously’.
Vibeke Tandberg is not one of those artists who stopped experimenting with age.
