Centre Pompidou’s centennial exhibition is a celebration of an art which surrenders itself to Eros.
Can collective psychotherapy cure contemporary art? A new show at Palais de Tokyo suggests it might.
Anna-Eva Bergman’s first major retrospective in Paris is unlike anything else.
As Europe arms itself for war, Paris is preparing for the 2024 Olympics. Cyprien Gaillard captures the stupid and the sublime in our increasingly bewildering world.
The 16th Lyon Biennial is a familiar mix of Surrealism, archival findings, and sleek animations. Is a comfortable view of the world in ruins all that art can muster?
Philosopher Catherine Malabou wants to change anarchism’s bad rap.
Documenta 15 is all about networking.
Ten years after her death, Ulla Rosen Winbladh Culioli’s tapestries are being shown for the very first time. Galerie Odile Ouizeman’s show in Paris is a revelation.
The curator and critic’s new book of collected writings neglects his role as champion of blockbuster shows.
After disappearing a decade ago, Martin Margiela’s resurgence as a contemporary artist comes at least twenty years too late.
The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
In Matthew Barney’s comeback at the Hayward in London, self-mythologising has given way to a dark and icy world where environmental violence prevails.
Winds of change blew across Freetown Christiania this year, bringing Kunstkritikk’s editor in Copenhagen hope that Danish art will one day be renewed there.
Sex and death in Helsinki, meditative landscape painting in Oslo, and a glimpse of art’s future in Copenhagen. Artist Ernst Billgren gives us his top-three list.
A small gnome hiding inside a fountain pump sent Kunstkritikk’s Norwegian editor, Stian Gabrielsen, into a nostalgic fit.
Is Berlin losing its position as a haven for artists due to German repression of pro-Palestinian voices? Six Nordic artists and curators respond.
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