Stefanie Hessler’s astute critique of Western instrumentalisation of the ocean lacks a strategy for using that narrative as a political instrument.
Contagion measures have prompted many Norwegian exhibition venues to move their mediation to commercial digital platforms, while others stress the importance of keeping open.
The web of global entanglements and flows described by A beast, a god, and a line at Kunsthall Trondheim omits the exhibition’s immediate context.
Presented at Kunstnerforbundet in Oslo, Marthe Ramm Fortun’s obstacle course through the city teases out the prejudices that govern public behaviour.
The exhibition featuring Goodiepal’s collection is also a retrospective of ‘Goodiepal’ the phenomenon, which is also a school, a band, and a refugee organisation.
Artists Máret Ánne Sara, Anders Sunna and Pauliina Feodoroff will represent Sápmi at the 2022 Venice Biennale.
To professor of critical theory Juliane Rebentisch, contemporary art is mainly an academic problem.
Manifesta 13 in Marseille – one of the European cities hardest hit by the pandemic – unbolts the door to madness. But is madness enough in these insane times?
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