Nicholas Norton (f.1989) er kunsthistoriker og skribent.
Diasporic Remix
Basel Abbas and Ruanne Abou-Rahme’s voracious use of cultural fragments contradicts the idea that identity is linked to a monolithic cultural heritage.
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.
NFTs demonstrate art’s license to make commodities out of almost anything.
Ida Ekblad’s paintings do not comment on visual culture, they produce it.
Damla Kilickiran’s exhibition at The Young Artists’ Society in Oslo shows how the pandemic has made us so focused our own bodies that our surroundings dissolve.
The Munch Museum’s presentation of Edvard Munch’s paintings of Sultan Abdul Karem would have benefited from less didacticism.
Death to the Curator at Kunsthall Oslo argues that power in the art world should be more evenly distributed.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.