ARoS Art Museum under fire for not paying artists, anti-fascist conference at the Luleå Biennial, and other news from the Nordic art field this week.
Abuse at the Royal Danish Academy of Art, artists’ studios at the National Gallery in Oslo, a reopening of Magasin III in Stockholm, and more.
A puff of a cigarette, a scratch in a table top – resistance manifests itself in simple gestures in Liv Bugge’s project in the prisons of Ullersmo and Eidsberg.
Climate change and the co-existence of species are the main themes when Ane Graff, Ingela Ihrman and artist duo nabbteeri take over the Nordic pavilion in Venice 2019.
The great paradox of the UKS’s proposal for affordable housing for artists is that it should apply to everyone, not just artists.
Sandra Mujinga’s Hoarse Globules at Young Artists’ Society in Oslo feeds on the dissonance between the post-digital fluid self and the fixed identities of representational politics.
– Let’s try to feel the exhibition. Then we might be able to see history from a different angle, says Marti Manen, who will curate the 10th Momentum biennial.
There are substantial differences between the Scandinavian countries when it comes to state funding of art. Denmark already provides the least funding, and now the nation faces new cuts.
Becoming a stage for the voices of the oppressed is a means for Documenta 14 to unburden itself from the weight of its own prominence.
OCA’s symposium Museums on Fire launched an urgent conversation about indigenous art and the colonial heritage of art institutions even if it only occasionally caught real fire.
Amidst cries of “crisis tourism”, Documenta 14 aims to unleash the giant exhibition’s political potential as it takes over public arenas in Athens and Kassel.
Stine Hebert, former rector of the Funen Art Academy in Denmark, has been appointed dean at the Oslo Academy of Fine Art.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
With a Danish ghost ship and humorous decolonial propaganda, the 11th Gothenburg Biennial wants to serve as a counter-narrative to the city’s official 400-year anniversary.
Damla Kilickiran’s exhibition at The Young Artists’ Society in Oslo shows how the pandemic has made us so focused our own bodies that our surroundings dissolve.
The collaboration between curator Théo-Mario Coppola and the biennial management has been broken off.
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