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.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
The climate has no time to wait, and nature cannot hurry. Camilla Berner is raising a forest on the island of Ærø.
Manifesta 15 in Barcelona forces visitors to spend time in the periphery and confront the central issues of our time.
Allegations of sexual misconduct in a Vaginal Davis work at Moderna Museet raise questions about art’s toxic culture of privilege.
Kunstkritikk is supported by
