In Every Ocean Hughes’s first major solo exhibition in the Nordic countries, the transition between life and death is not sharp but fluid.
Which exhibitions in 2021 does Valerie Kyeyune Backström wish she could return to?
Zanele Muholi’s exhibition at Bildmuseet in Umeå is a beautiful, upsetting, and humorous portrayal of Black LGBTQI+ lives.
Martha Edelheit’s The Naked Truth: Works from the 60’s & 70’s at Larsen/Warner in Stockholm overflows with an irresistible sense of sensuality and liberation.
Santiago Mostyn’s exhibition at Andréhn-Schiptjenko in Stockholm is a hypnotic spatial montage which reveals the contours of an emergent Black subjectivity.
Which were the most memorable exhibitions of 2020? Today we hear from Valerie Kyeyune Bäckström, novelist, art critic, and regular contributor to Kunstkritikk.
Faith Ringgold’s retrospective at Bildmuseet in Umeå is a moving attempt at restoring the humanity of which Black people have so often been robbed.
The encounter between Bella Rune’s thin, almost transparent threads and Carl Eldh’s heavy realist sculptures is remarkably beautiful and moving.
In Éva Mag’s largest exhibition to date, heaps of salvaged objects outline the surplus populations produced by the network of global capital.
The Physical World Was Still There at Konsthall C is a gripping account of the human desire to escape reality. It has tenderness, grief, pain and lyricism.
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.
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