The key issue in Nicolas Bourriaud’s new book is the way exclusion affects visual thought. Kunstkritikk met him in Copenhagen for a talk about art and politics.
– The airport is the purgatory of our times, says Ed Atkins, whose new film installation at Statens Museum for Kunst teeters somewhere between Pina Bausch and Leslie Nielsen.
While more and more artists explicitly enjoy making artworks that cannot be nailed down by a political program, art writers take even more pride in pinning it down.
Keren Cytter makes films and reflects a lot on herself – like everyone else today. Perhaps that is why she is so exciting.
– With the rejection of Manet’s Déjeuner sur l’herbe from the Salon the painting fell into a limbo of sorts. It was art denied in its art quality. That is what non-art is, says Thierry de Duve.
Status update on Sorø Kunstmuseum’s exhibition trilogy about the new materialism and realism that spark debate right now. But just how ‘new’ is all this, really?
Philippe Parreno’s retrospective solo exhibition at Palais de Tokyo in Paris is neither a retrospective nor a solo show. The old works are new, and he did not create all of them himself.
Unlike a superhero movie, the 10th Göteborg Biennial does not seek to reach an audience consisting of all the people on earth.
At Statens Museum for Kunst, Shahryar Nashat has produced a captivating immersive experience that is both seductive and claustrophobic.
Dealing with bad art, the book Bad Writing is gloriously perverted in places. But it is also a slightly surly attack on what it calls ‘political correctness’.
‘In order to move on, you must also turn back’, says Lisa Rosendahl, curator of the 10th edition of the Göteborg Biennial, opening this Saturday.
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