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?
Which crisp see-through paintings stopped writer Nanna Friis in her tracks in 2020?
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.
Curator and researcher Antonio Somaini thinks artists are essential for understanding what AI is doing to culture.
