Last time it was called Copenhagen Art Festival. That is no longer its name, but the same five art venues are behind the plans for a large-scale exhibition in Copenhagen in the autumn of 2015.
Next year Morten Traavik and Henrik Placht enter the headquarters of the North Korean Committee of Cultural Relations, forming what may become an international art academy inside the dictatorship.
The Astrup Fearnley Museum claims that it does not have the budget to pay the artists contributing to the show Europe, Europe. However, the Arts Council Norway has granted funds earmarked for artist's fees.
It was announced today that Lina Selander will represent Sweden at the Venice Biennale 2015.
“The intention was to create an exhibition without a manifesto,” said curator Kasper König during the press conference opening the 10th installment of Manifesta in St. Petersburg.
Future Library invites an imaginary leap,” says Katie Paterson, who has launched an art project in Oslo that she will never see completed.
This year’s Moderna Exhibition showcases art from the Baltic region, mixing work from different epochs. The result is an exhibition without a guiding idea, so contemporary that it falls out of step with the times.
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.
Last time it was called Copenhagen Art Festival. That is no longer its name, but the same five art venues are behind the plans for a large-scale exhibition in Copenhagen in the autumn of 2015.
With its rather random and arbitrary curatorial approach the exhibition Europe, Europe at Astrup Fearnley ends up saying very little about European art as such.
Keren Cytter makes films and reflects a lot on herself – like everyone else today. Perhaps that is why she is so exciting.
The Moderna Exhibition inventories artists from the Baltic region, abstract imagery dominates at the galleries, while several group exhibitions adress contemporary political issues.
The autumn season on the Danish art scene contributes to 1990s history writing and includes new steps forward as prominent female artists are presented at the major Copenhagen institutions.
The autumn season on the Norwegian art scene offers exhibitions featuring the Bauhaus teacher Josef Albers, and the work of French filmmaker Chris Marker. Rameau’s nephews also make an appearance.
Olafur Eliasson’s Riverbed at Louisiana embodies a kind of anti-seduction which wins much by the extent of time it forces you to spend inside the installation.
– 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.
Instead of chastising a nation that has repressed an uncomfortable past, Fadlabi and Cuzner help present Norway as a country willing to face and renounce its racist past.
The current crisis at the École des Beaux-Arts in Paris shows the difficulties in distinguishing between overall societal changes and individual leadership skills.
Henrik Olesen’s Abandon the Parents at the National Gallery in Copenhagen is a magnificent story about sons who left behind one kind of family, but perhaps created a new one.
Petra Cortright recently opened her first show in Scandinavia. “Never before seen. Very fun”, as the “post-internet”-artist said to Kunstkritikk.
The 2014 Whitney Biennial – the last held in the Brutalist granite box on Madison Avenue – is a somewhat old-fashioned, eclectic exhibition, but it evinces an unquestioning faith in art.
In the major Richard Hamilton exhibition in London, the renowned pop artist’s subtle ironies and games are realized as the conditions and objects of his critical works.
Keren Cytter
Kunsthal Charlottenborg (til 1. January)
Reviewed by Toke Lykkeberg
Olafur Eliasson
Louisiana Museum of Modern Art (til 4. January)
Reviewed by Cecilie Høgsbro Østergaard
The Moderna Exhibition 2014
Moderna Museet Malmö (til 25. January)
Reviewed by Fredrik Svensk
Europe, Europe
Astrup Fearnley Museet (til 1. February)
Reviewed by Stian Gabrielsen