Compact exhibition in Malmö shows an inclusive and pluralistic interpretation of Situationism while a giant exhibition in Berlin appears absorbed by the idea of the movement’s exclusivity.
Henrik Olesen’s exhibitions in New York constitute a self-critical exploration of his own methods, pitting Uptown against Downtown like Michelangelo’s David against a gob of spittle.
What does it mean to be important in the art world? Marie Karlberg’s Stockholm show answers the question, one oversized business card at a time.
The feminist exhibition No Master Territories at Kunstnernes Hus unfolds as an open research project that can be extended and reconfigured through new voices.
Strong reactions from European leaders to Russia’s participation in this year’s biennial. Danish minister open to boicott.
Contemporary art’s rhetoric of doom has become a comfortable cliché, as the scramble for relevance turns resistance into a risk-free, legible aesthetic.
