Our new comment column is here. First up is Anders Kreuger, former deputy director at Lunds konsthall.
Ai Weiwei withdraws from two exhibitions in Denmark out of protest against the new Danish asylum seeker laws. ARoS regrets his decision – Faurschou Foundation gives him their full support.
A sudden decision by Lund’s Board of Culture is interpreted by many as a political move to shut down one of Sweden’s most renowned art institutions.
Excellent co-operation between artists’ associations and united support from the centrist parties and the opposition proved decisive in winning Norwegian artists a 10% pay rise, says NBK chairwoman Hilde Tørdal.
– CIMAM needs a board of directors that actively opposes censorship, says the director of Henie Onstad Kunstsenter, Tone Hansen. Three of the forum’s board members have resigned in protest against the president Bartomeu Marí.
– There is a specter of populism haunting the political field today, says director of Kunsthalle Wien, Nicolaus Schafhausen, prior to the opening of the exhibition Political Populism.
– The noise of migration is good for the creative imagination, says Anawana Haloba, who opens a solo exhibition at SKMU Sørlandets Kunstmuseum this weekend.
In the work of Wolfgang Tillmans, people, plants, and technologies are all vital living objects on their own cosmological terms.
For Heimo Zobernig, there is no existential drama to play out during painting’s inexorable march toward death.
– Most people seem to understand that I am dancing to my own tune, says Marvin Gaye Chetwyn. Her performance-workshop on Saturday inaugurates Bergen Assembly 2016.
Janus Høm conducts psycho-social exorcisms on Bornholm and in the latest exhibition at the exhibition venue Toves. Total self-absorption is perfected here.
The conflict surrounding Lund’s Konsthall is self-fueling and never-ending.
– It would have amounted to self-censorship not to integrate the social and political into my work, says German-born New York-based artist Hans Haacke to Kunstkritikk.
At the inauguration of the conference Nordic Avant-Garde 1975-2000 in Copenhagen today, Ellef Prestsæter proposes a rethinking of the relation between avant-gardes and networks.
– Art can give us an experience of belonging, says Jumana Manna, whose exhibition A magical substance flows into me opens at Malmö Konsthall tomorrow.
Jane Jin Kaisen’s exhibition at IAC in Malmö suggests the impossibility of representing Korea’s traumatic past, but argues for the necessity of recording its effects.
The 25th anniversary of Texte zur Kunst was celebrated with a conference in Berlin: a star-studded programme featuring friends of the journal. But how can you discuss canon when everyone’s part of the club?
Gustav Metzger’s work at Kunsthall Oslo and Kunstnernes Hus poses important questions about both material activism and human/non-human agency.
Tom Eccles visited Oslo recently and reflected on his time with the Public Art Fund and CCS Bard in a public lecture. – One has to adapt while staying critical, he states in this interview.
The retrospective format is feared by most artists, but not by Dominique Gonzalez-Foerster: her retrospective in Paris deals fearlessly with past and future alike.
Chto Delat captures political apathy at Gävle Konstcentrum, but the works need a more speculative form to better approach the disjointed subject they postulate.
Vibeke Tandberg’s exhibition Infinite Signature at OSL Contemporary reaffirms the artist’s tremendous will to self-destruct, but is she truly ready to let go?
Going Public
Toves (15.01. – 13.02.)
Reviewed by Mathias Kryger
Heimo Zobernig
Malmö Konsthall (til 1. May)
Reviewed by Matthew Rana