Kunstkritikk is taking a summer break. We will be back in August. Wishing all our readers a great summer!
In Rio de Janeiro museums must cut down their opening hours because they cannot afford the cost of air conditioning, and everyone I meet is complaining about a lack of discourse production in the art.
During a few glorious summer days, Kunstkritikk drove around Gotland with Jacqueline de Jong, re-experiencing a trip she made in 1964 with Asger Jorn and his Scandinavian Institute of Comparative Vandalism.
Ape Culture takes a close look at mankind's closest relative and reaffirms that Haus der Kulturen der Welt is a leading proponent of research-based exhibitions.
The mystery novel Headless is the culmination of artist duo Goldin + Senneby's evasive – perhaps cynical – inquiry into the world of offshore capital.
– A website is a website is a website, explains internet art pioneer Jodi who are showing new work at Belenius/Nordenhake in Stockholm.
Leading Aby Warburg scholar Philippe-Alain Michaud’s talk at Stenersenmuseet sets Warburg’s thoughts into motion in the midst of Guttorm Guttormsgaard’s exhibition.
The ‘Post-Internet’ concept has entered mainstream consciousness – but does it receive the critique it requires? How does it reflect on the status quo of art criticism today?
– We need to pause and read the wind, says Camille Norment, who represents Norway with a site-specific, sculptural and sonic installation in the Nordic Pavilion in Venice.
– Media exists thanks to the chemical qualities of rare earth elements, says Jussi Parikka, whose latest book A Geology of Media will be presented at Index in Stockholm tomorrow.
Danh Vo’s Danish Pavilion at the 56. Venice Biennial shows the clever – perhaps too clever – arrangements and storytelling for which the artist is best known.
The ‘Post-Internet’ concept has entered mainstream consciousness – but how does it reflect on the status quo of art criticism today? Writers, critics and editors give their responses.
Runo Lagomarsino and Carla Zaccagnini’s exhibition at Malmö konsthall follows a comedic logic of displacement, but the result is mostly confined within the expected.
Before Post-Internet Art there was Internet Art. It is time to consider the links between the two.
– My ideal conversation partner in art is a stranger, says Bjarne Melgaard, who is currently exhibiting his art alongside that of Edvard Munch at the Munch Museum.
The triennial at the New Museum in New York did not deliver what you might expect – instead, it accurately diagnosed a generation, offering a reference point for the years to come.
– When you need a change, you should change to the opposite, from light to dark, from black to white, says Goutam Ghosh, who has his first show at Standard (Oslo).
Danh Vo
The Venice biennale (til 22. November)
Reviewed by Vanessa Joan Müller