In Sweden, the spring season is dominated by some of Norway’s most acclaimed artists. And at Nationalmuseum, the Danish golden age is recreated.
The upcoming general elections are unlikely to change the dazed confusion of Danish cultural politics. But an exhibition about the EU and a Sonja Ferlov Mancoba retrospective look promising.
Bergen’s plans for becoming an international cultural city overlooks the fact that the city already is.
Stockholm’s gallery scene is transformed, while new directors take over at several of the major institutions. And one of Scandinavia's oldest biennials is reawakened and rejuvenated.
A rowing trip to Tromsø, critique of the silencing of women and a speculative approach to the concept of ‘extraction’. It is the many kunsthalles across Norway that lead the way the coming art season.
Solid solo exhibitions, even of a more woke variety, lie ahead this autumn season. But this year, it was the Danish minister for culture who set the ball rolling.
The great paradox of the UKS’s proposal for affordable housing for artists is that it should apply to everyone, not just artists.
The true story about Kunstkritikk’s attempt at interviewing the curators of We Don’t Need Another Hero
, the 10th Berlin Biennale.
The monument I Am Queen Mary
forces the Danish public to realize they no longer have the stage of history to themselves, while its reception shows that colonial memory remains a battleground
Every alarm bell should be ringing when the art fair Art Basel wants NOK 3.4 million to tell us how to be more international.
Documenta, the world’s foremost large-scale exhibition, will remain non-profit and is financially set for 2022. But two big issues relating to its artistic independence are still very much contested.
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.