Held against the backdrop of urban development in east Oslo, the seminar about Prosjekt i Gamlebyen from 1994 was an excellent example of history writing in action.
Matias Faldbakkens unrivaled flair for metaphors seeps through the cracks in between the bathroom tiles in his exhibition Europe is Balding at Paula Cooper Gallery.
Sweden, Norway and Finland resume former collaboration on the Venice Biennial. Mats Stjernstedt will curate the joint pavilion in 2017.
– Art needs to be a bit stupid to be good, says Martin Creed to Kunstkritikk. On Saturday he opens a new exhibition at the Peder Lund gallery in Oslo.
– I think that artists more than anyone have a stake in migration issues, says curator Nicole Smythe-Johnson ahead of her lecture at the Academy of Fine Art in Oslo.
The biennial format still holds a great potential. So think the curators for the biennials that opens this Friday in Lofoten and Copenhagen and in two weeks in Gothenburg.
Ape Culture takes a close look at mankind’s closest relative and reaffirms that Haus der Kulturen der Welt is a leading proponent of research-based exhibitions.
Leading Aby Warburg scholar Philippe-Alain Michaud’s talk at Stenersenmuseet sets Warburg’s thoughts into motion in the midst of Guttorm Guttormsgaard’s exhibition.
– In order to build new communities, we have to drop the idea of the public completely, says professor Andrea Phillips in this interview with Kunstkritikk.
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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