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.
After art’s artistic turn, mood is the new benchmark for quality in contemporary art, positing a philosophically sustainable alternative to spectacle and newness.
This year’s Lofoten International Art Festival delves into local history while emphasising the need to connect with the world.
After a year of Israeli war on Gaza and increased pressure on the arts, the Danish-Palestinian artist Larissa Sansour opens two major exhibitions in the Nordics.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
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