In Cyprien Gaillard’s exhibition in Stockholm, the angel of fascism dances for an eternal and desirable sleep.
Fondation Cartier shows how artists today try to invent a personal visual language where theory and politics are latent and unfathomable.
Lap-See Lam demonstrates the advantages that transhumanism, technocapitalism, and post-internet art have in common.
Gilbert & George’s exhibition at Moderna Museet is wild, speculative, cynical, neurotic, pornographic, spiritual and kitschy.
Franz West fought his whole life with the question of how he could achieve something by doing nothing.
Haq’s objections to my review do not change the fact that he has failed to confront secularity as an urgent and conflicted topic.
What is the secret to Matias Faldbakken’s artistic and literary success? Fearlessness.
The 8th Gothenburg biennial takes on one of the pressing issues of our time. Yet the disparity between its its aspiration and the result couldn’t be greater.
The Physical World Was Still There at Konsthall C is a gripping account of the human desire to escape reality. It has tenderness, grief, pain and lyricism.
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.
With global politics poised at several precipices at once, the international art scene seems preoccupied with globalism and transgeographic exchange this spring.
While Danish museums celebrate record-high visitor numbers, others want to shut down the Ministry of Culture. In a way, the two are connected. Also, institutional collaborations have become the order of the day.
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