Nora Adwan meets an ongoing moral crisis with beauty and dogged optimism.
Constance Tenvik’s interpretation of Greek antiquity at the Munch Museum in Oslo substitutes sexual and violent excesses for burlesque games.
‘You can never guarantee that it won’t be uncomfortable’, says performance artist Marthe Ramm Fortun.
Alice Neel’s paintings brim with immense curiosity and feeling for the lives of her fellow humans.
Ukrainian-born artist Lesia Vasylchenko on image politics, predictive technologies, and the burial of the future.
The most interesting aspect of Eliza Douglas’s exhibition at VI, VII in Oslo is how little the artist labours for it.
In a field where so many desire high visibility, Mickael Marman addresses the discomfort of being recognised.
What were your most memorable art experiences of 2019? Artist and writer Nora Joung gives her bid.
In Steinar Haga Kristensen’s solo show at Kunstnerforbundet in Oslo the characters haul art and art history around as if they were both a burden and a source of nourishment.
Sandra Mujinga’s exhibition Real Friends at Oslo Kunstforening is well-orchestrated, feverish, and ultimately has faith in the spectator. In the form of a gorilla.
– If coexistence was imaginable then, where are we now? That is the question posed by curator Nada Raza in the exhibition The Missing One, opening at OCA in Oslo today.
Through her work with the organisation W.A.G.E., Lise Soskolne is attempting to change the working conditions for American artists. In Oslo she exhibits her own paintings for the first time in 14 years.
Bonniers Konsthall develops Peter Weiss’s novel The Aesthetics of Resistance into an exhibition, but its core theme – class struggle – is conspicuously absent.
Kirsten Ortwed has spent a lifetime pushing sculpture to the edge. On the Danish isle of Bornholm, her art fits in almost suspiciously well.
Bonner Kunstverein show plays with split vision.
Three exhibitions – by turns glossy, quiet, and flashy – fit Copenhagen’s event-packed month like a glove.
