Haq’s objections to my review do not change the fact that he has failed to confront secularity as an urgent and conflicted topic.
Defining the subject of this year’s Gothenburg biennial as being just about religion is a fundamental misunderstanding.
Documental 14 is about to go down in history as an exhibition whose weak realization was outmatched only by its lack of financial and administrative direction.
If Trump heralds a new world order, the critical models of contemporary art must also be reinvented. We need a communist poetics, a poetic principle for the political struggle.
The Museum of Modern Art in New York’s exhibition history, now available online, is an invaluable resource for the reading of curatorial practice, but we are being presented with a polished story.
In Helsinki, discussions about Alice Neel, Niki de St Phalle, Yayoi Kusama and Mona Hatoum emphasize clichéd female attributes. A counter strategy is to read them through classic feminist theory.
Ibrahim Mahama's work at Charlottenborg illustrates the difficulties of addressing globalisation through a warmed-over modernist vocabulary of forms
While Pokémon Go conquered the streets of the world this summer, the Berlin Biennial struggled with the friction between 2D performance and 3D actuality until Rihanna dropped by.
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.
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.
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.
Held against the backdrop of urban development in east Oslo, the seminar about Prosjekt i Gamlebyen
from 1994 was an excellent example of history writing in action.
If you really want to fail as an artist, it is enough to fail once if you do it properly.
Art criticism has mainly focused on art shown in galleries and museums. It is time that it began engaging with public art, too.
The conflict surrounding Lund’s Konsthall is self-fueling and never-ending.
NOK 1 million for art criticism and NOK 5.5 million for art exhibition venues: the amounts may be small, but gentle winds are blowing in Norway’s right-wing cultural policymaking.
Artscape Nordland gets the Arts Council Norway honorary award, but what the project really needs is the critical discussion that has been lacking for the last 25 years.
When people move, the world moves. These movements are clearly apparent in art. Twentieth century art history is also a story about migration.
Angela Davis’ visit at the Royal Institute of Art in Stockholm last week generated harsh criticism, but it is worth recalling what Davis actually talked about in her lecture.
The legacy of activism is clearly evident on the Norwegian art scene this autumn. The most important exhibition takes place in Lofoten, where the curators ask if it is too late to change the world.