Det ledende nordiske nettidsskriftet Kunstkritikk publiserer daglig kritikk, kommentarer og nyheter fra kunstfeltet. Updated daily, the Nordic contemporary art journal Kunstkritikk brings reviews, commentary and news.
ARoS Art Museum under fire for not paying artists, anti-fascist conference at the Luleå Biennial, and other news from the Nordic art field this week.
Abuse at the Royal Danish Academy of Art, artists’ studios at the National Gallery in Oslo, a reopening of Magasin III in Stockholm, and more.
– Being a little tired is conducive to sensing your surroundings, says Apichaya Wanthiang. Her exhibition at UKS (Young Artists’ Society) is open only at night.
The soon-to-be former director of Malmö Art Museum stresses the importance of continuity for the small konsthall in Tensta, which celebrates its 20th anniversary in 2018.
Artist Kirsten Langkilde will be the new rector of the Royal Danish Academy of Fine Arts in Copenhagen
The Danish Arts Foundation has selected Danish-Palestinian artist Larissa Sansour to represent Denmark at the 2019 Venice Biennale.
at Bergen Kunsthall reveals symbiotic relations between living and dead matter. It is an art that critically opens up to the future.
For the 16th Luleå Biennial, the darkness of the polar night is imbued with dreams of new forms of aesthetic and political resistance.
Art historian T. J. Clark’s new book sketches a vision for a new political Left through the affective registers and subtleties of painting.
– Catastrophe is a recurring figure in Greek history, says Angela Melitopoulos, the artist behind the solo exhibition opening tonight at Kunsthal Charlottenborg in Copenhagen.
Compact exhibition in Malmö shows an inclusive and pluralistic interpretation of Situationism while a giant exhibition in Berlin appears absorbed by the idea of the movement’s exclusivity.
Art historian Mathias Danbolt believes that it is necessary to take a new look at Nordic art history from a decolonial point of view.
Pierre Huyghe’s exhibition at Serpentine in London poses the question: what is the critical value of the open artwork in the age of participatory media apocalypse?
At almost 80 years of age, Swedish sculptor Lars Kleen aspires to renew his medium at every turn. His most recent work evokes the dire consequences of climate change.
Elmgreen & Dragset’s minimalist starfish installation in Paris resonates directly with the city’s self-image after the terrorist attack in 2015.
Jumana Manna has a journalist’s feel for the effects of intimacy. Sweat pours from her sculptures and films at Henie Onstad Kunstsenter.
With her New Museum retrospective, Sarah Lucas (almost) breaks free from the YBA generation, excelling with British toilet humor that speaks directly to the senses.
The Moderna Exhibition 2018, Moderna museet’s quadrennial of Swedish art, allows the present to appear in full agony and confusion, beyond the glossy surface of the art scene.
The new, comprehensively renovated Nationalmuseum in Stockholm fails in coming to terms with the institution’s colonialist heritage.
A puff of a cigarette, a scratch in a table top – resistance manifests itself in simple gestures in Liv Bugge’s project in the prisons of Ullersmo and Eidsberg.
Cross-aesthetic becomes anti-aesthetic in Louisiana’s vastly overhung exhibition The Moon
. And with so many good works on display, that is really a pity.