The 34th edition is a parade of monstrous and transgressive bodies.
With a Danish ghost ship and humorous decolonial propaganda, the first part of the 11th Gothenburg Biennial wants to serve as a counter-narrative to the city’s official 400-year anniversary.
Olof Marsja’s exhibition at Nevven in Gothenburg is a bold mix of contemporary spirituality, Sámi handicraft, and fake designer clothes.
Which were the most memorable art experiences of 2019? Today’s answer is by Oscar Svanelid, critic, art historian and contributor to Kunstkritikk.
What happened to the idea of a European public sphere? Artist Andjeas Ejiksson unearths a forgotten public service channel from the 80s.
Lund’s Konsthall’s exhibition about Chile’s contemporary history is at its best when it establishes critical distance to its politically and emotionally charged subject.
Latin American concrete art shows us how formal experiments, utopian ideas and social concerns can overlap in unexpected and dynamic ways.
Esben Weile Kjær may be a rising star, but his Solar System in Aalborg consists of rat-infested ruins, mutations, and epoxy diamonds. Is it for real or simply fake?
In Ann-Sofie Back’s Stockholm retrospective, fashion and death go hand in hand.
War is the artist’s muse in Vanessa Baird’s retrospective at Munch Museum in Oslo.
Katalin Ladik’s first major presentation in the Nordics underscores the transformative power of the voice.
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