A triennial resembling The Blob and the fear of meeting another person’s gaze ever again: 2025 has left its mark on Tommy Olsson.
Hannah Ryggen remains the most compelling part of the Hannah Ryggen Triennial.
Marte Gunnufsen’s exhibition at Noplace lulls you into a deceptive feeling of security.
In the empty parallel world we know as Tjuvholmen, Ida Ekblad’s paintings shout out in a polyphonic chorus: ‘Steal me and take me home!’
In the 2010s, Norwegian cultural politics began the deliberate disassembly of a functioning system under the pretence of having something to replace it with.
Once the last page has been read it is difficult to shake the feeling that Bjarne Melgaard’s novel is actually a piece of quite good late modernist prose.
With such wide-ranging ambitions I Wish This Was A Song at the Museum of Contemporary Art in Oslo almost had to become a very varied affair. Which is fine when you deliver – as this exhibition does.
Bonniers Konsthall develops Peter Weiss’s novel The Aesthetics of Resistance into an exhibition, but its core theme – class struggle – is conspicuously absent.
Kirsten Ortwed has spent a lifetime pushing sculpture to the edge. On the Danish isle of Bornholm, her art fits in almost suspiciously well.
Bonner Kunstverein show plays with split vision.
Three exhibitions – by turns glossy, quiet, and flashy – fit Copenhagen’s event-packed month like a glove.
