Yael Bartana mixes fiction and reality in a deliberately manipulative way. So why does Gammel Strand do so little to qualify the audience’s experiences?
Stense Andrea Lind-Valdan looks back on a rich year in art which included psychedelic shadow puppetry and an artist’s farewell show.
Intense, delicate, and carnal, Jessie Kleemann is everywhere. Two parallel exhibitions show that her emphasis on physicality is both her work’s greatest strength and its weakest link.
Despite Kirsten Justesen’s decades of thinking outside the gender box, Kunsten in Aalborg has pigeonholed her.
Kimsooja’s ethereal refracted light drowns in the darkness of Copenhagen’s Cisternerne.
Lose yourself in Leonora Carrington’s dream vision: Arken will cradle you like a small speckled quail egg blessed by a sacred hand.
Which were the best exhibitions on Nordic soil in 2021? Artist Stense Andrea Lind-Valdan lists her favourites.
The National Gallery of Denmark sets sail in the name of decolonisation with an exhibition about Emil Nolde and Ernst Ludwig Kirchner as gentle and critical as the catalogue is problematic.
A new reality show about Odd Nerdrum’s family teases out the irony of the classical painter’s contempt for the present.
Palestine, Indigenous art, the Venice Biennale, and mood as a benchmark for quality. These are the articles that engaged our readers the most in 2024.
Kunstkritikk’s editor-in-chief Mariann Enge reflects on the art that captured the state of the world in 2024.
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.
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