Kunstkritikk is taking a summer break. We will be back in August. Wishing all our readers a great summer!
Annica Karlsson Rixon and Anna Viola Hallberg’s project State of Mind – Queer Lives in Russia is both a documentary field study and a way of supporting political activism. 
Eivind Furnesvik shares some of his thoughts after having run the gallery Standard (Oslo) for a decade. The story is a study in obstinacy at its most fertile.
Nasjonalmuseet does a fine job of addressing Norwegian process art and conceptual art in Silent Revolt. Their explanations for why such art has been passed over by art history are more problematic.
Malmö Art Academy has been given notice to vacate its premises in one year. According to Dean Gertrud Sandqvist, this could imply that the school is will be forced to close.
– I see my work as an attempt at hacking the virtual pornographic body, says Sidsel Meineche Hansen, whose exhibition at Trondheim Kunstmuseum opened yesterday.
The Tom of Finland exhibition at Kunsthalle Helsinki is the largest to date to feature the gay hero, yet it misses the opportunity to contextualize his work as an artist.
Manifesta 11 is the very quintessence of Old Europe with routine visits to the dentist, dog salon and church. Meanwhile, a single wheelchair rolls across Lake Zürich.
The Berlin Biennale hopes that digital capitalism vill save us from the historical exhaustion of contemporary art. Result: aesthetic formalism and political paralysis.
Sublime depictions of boundless masses of refugees dominate the media. But artistic responses to the political migration crisis can be more than just an aesthetic breather – they can also take part in the fight for the right to breathe.
Mexican artist Damián Ortega’s exhibition at Malmö Konsthall is a worrying signal of the populist, for-all approach currently besieging many contemporary art institutions.
– People in the art world take their categories very seriously, and we don’t. Lauren Boyle speaks for DIS, curators of the 2016 Berlin Biennale. June 4 is the official opening.
In this new version of the new economy, the app is just the fetish whose ideological function is to distract you from the gangmasters behind the curtain.
I am in no way poking fun of painting, says Fredrik Værslev. Today his exhibition All Around Amateur opens at Bergen Kunsthall.
Maria Eichhorn's gesture of closing down Chisenhale Gallery in London during the exhibition is more reminiscent of organizational theory than a critique of capitalist labour.
Ulrik Heltoft’s art is characterised by a sophisticated approach to the medium of film. It is currently strutting its stuff at Gl. Holtegaard, full of closed-up spaces in the vast cosmic loop.
Cally Spooner’s first solo exhibition in New York addresses one of today’s most exhausting phenomena: the instrumentalisation of affect. #feelingblessed
The Present in Drag

The Berlin biennale (til 18. September)
Reviewed by Frans Josef Petersson
Annic Karlsson Rixon
State of Mind – Queer Lives in Russia (til 24. September)
Reviewed by Katia Miroff
Tom of Finland
Helsingfors Konsthall (til 7. August)
Reviewed by Maria Hirvi-Ijäs
Damían Ortega
Malmö Konsthall (til 25. September)
Reviewed by Matthew Rana
Silent Revolt: Norwegian Process Art and Conceptual Art in the 1970s and 80s
National Museum of Art, Architecture and Design, Oslo (til 18. September)
Reviewed by Peter Amdam
Manifesta 11 – What People do for Money
Manifesta (til 18. September)
Reviewed by Pernille Albrethsen