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.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.
