In the 2010s, artists abandoned the present in favour of the past, the future, and other, larger temporalities. Art is no longer contemporary, but extemporary.
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.
In Germany, the large-scale commemoration of Michel Majerus’s untimely death provides an opportunity to revisit the 90s as a decade of both lost optimism and sinister beginnings.
For one year, Moderna Museet showed only locally produced art. This is what they learned.
Director at the Vigeland Museum in Oslo, Jarle Strømodden, believes it is too early to say whether the sculptures have suffered permanent damage.
Olof Olsson’s info comedy remains well-written, toe-curling, and entertaining, but leaves little room for doubt and vulnerability.
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