Nicholas Norton (f.1989) er kunsthistoriker og skribent.
Reflections on Immediacy
Our obsession with instant emotional returns robs us of the ability to understand the culture in which we live.
Our obsession with instant emotional returns robs us of the ability to understand the culture in which we live.
Ayman Alazraq shows how Israel’s continued destruction of Palestinian archives is intended to deprive the Palestinians of their identity and history.
Critic and writer Nicholas Norton proclaims his three favourite exhibitions of the year.
Curators’ efforts to blur formal hierarchies tend to veil the power they themselves wield.
If Norwegian art critics have a marginal role in the public eye, they have only to blame their collective aversion to risk.
Basel Abbas and Ruanne Abou-Rahme’s voracious use of cultural fragments contradicts the idea that identity is linked to a monolithic cultural heritage.
Ahmed Umar combines a strong personal story with a critical look at European stereotypes of African culture.
This year’s Transmediale festival finds a break from digital doom and gloom in club culture’s collective moments of bliss.
Gardar Eide Einarsson questions the impact of contemporary art’s political gestures.
The Berlin Biennale overlooks the fact that art doesn’t need to be didactic.
The protagonist of Sandra Mujinga’s retro-futuristic installation at the Munch Museum tries to become invisible in a world where every action leaves an imprint.
Why do debates on art get mired in arguments about identity politics? This year’s Holberg Debate offers some clues.
Everything you need to dream as Valeria Montti Colque’s recreates the Chilean Pavilion in Stockholm.
A show in Malmö reminds us that megalomaniacal ideas are best regarded as mind games.
Francis Picabia was a maximalist, but it is his most minimal compositions that score the most points at a show of his late works in Paris.
A new book uncovers the Nazi past of Swedens foremost postwar photographer.