21.06.17
This year´s Skulptur Projekte Münster is invested in a socially paralyzed and market-oriented public sculpture not much different from the kind it was once inititated to counter.
By Frans Josef Petersson
16.06.17
Becoming a stage for the voices of the oppressed is a means for Documenta 14 to unburden itself from the weight of its own prominence.
By Simen Joachim Helsvig
13.06.17
For an exhibition that introduces a plastic medium like sculpture in its title, the ninth Norwegian Sculpture Biennial is noticeably lacking in works that invoke the haptic.
By Nikita Mathias
29.05.17
At this year’s Venice Biennale, the German, Nordic and Iraqi pavilions in particular set themselves free from biennale politics and offer interesting explorations of the history of the contemporary.
By Jonas Ekeberg
26.05.17
The international exhibition at the 57th Venice biennial makes an important, if not entirely convincing, case for the artist’s right to sleep at work and heal the planet through dance.
By Frans Josef Petersson
24.05.17
Hundreds of handwritten notes crowd the gallery in Caspar Forsberg’s exhibition at Johan Berggren Gallery, linking art and life with a perverse mix of optimism and exhaustion.
By Matthew Rana
24.05.17
The MFA Degree show at the Academy of Fine Arts in Helsinki reflects the dystopian state of the present, as well as s more tacit will to move towards something different.
By Laura Kokkonen
15.05.17
Arrested on glass vitrines at Oslo Kunstforening in the chilly manner of laboratory specimens, Camille Norment's tender baby skeletons still bubble with becoming.
By Nikita Mathias
05.05.17
Malmö is Burning at Moderna Museet Malmö shows how art, music and political activism became crucial to vitalizing the city during the 70s and 80s. Anything was possible!
By Bengt Adlers
19.04.17
Relocating Documenta 14 to the orange-scented streets of Athens is a radical gesture that will not go unnoticed. Still, the exhibition itself seems strangely bewildered.
By Pernille Albrethsen
12.04.17
Anna Boghiguian charts American colonialism through a poetic installation reminiscent of diary pages displayed directly onto the walls and floors at Index in Stockholm.
By Jacquelyn Davis
30.03.17
Endre Tveitan’s visually sparse video works at Kunstplass [10] tease objects that usually go unnoticed out on the dance floor.
By Nikita Mathias
29.03.17
The brighest superstars of contemporary art drag the past through a wormhole into an uncertain future in Welcome Too Late at Kunsthal Charlottenborg in Copenhagen.
By Louise Steiwer
27.03.17
Annika Eriksson’s exhibition at Moderna Museet in Malmö views loitering as the primordial scene of the social. Even pets are explained as facilitating hanging out.
By Lars-Erik Hjertström Lappalainen
20.03.17
Ragna Bley’s Zooid at Munchmuseet on the Move – Kunsthall Oslo dresses in the conceptual garb of science, but her paintings also reveal a kinship with ethereal New Age colour schemes.
By Simen Joachim Helsvig
09.03.17
The Great Graphic Boom at Oslo’s Nasjonalgalleriet hardly merits the explosive connotations of its title, as it dilligently and patiently traces the history of American graphic art.
By Nikita Mathias
27.02.17
Cécile B. Evans’s biennial work is even more splendid in Aarhus than in Berlin, but in a way this also accentuates the video’s strange sense of treading water.
By Mathias Kryger
24.02.17
The contemporary art presented at the Sami anniversary was as much about mobilising for future struggles as it was about celebrating the past.
By Arne Skaug Olsen
22.02.17
Myths of the Marble at Henie Onstad Kunstsenter boasts luminous algae, computer games and prosthetics. But a fondness for new technology gives it a rather one-sided swipe-friendly tactility.
By Pernille Albrethsen
26.01.17
Daily website updates is the optimum format for Skam. The autumn’s grand love story lasted three months and could only really be experienced once.
By Ane Hjort Guttu
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Kunstkritikk is published by Kunstkritikk Foundation ISSN 1504-0925

Editor-in-Chief: Jonas Ekeberg post@kunstkritikk.no

Kunstkritikk follows the Norwegian Press Association’s Rights and Duties of the Editor.

Kunstkritikk is supported by The Norwegian Arts Council, The Nordic Culture Fund, the Freedom of Expression Foundation, Oslo and the Danish Arts Council, the Swedish Arts Council, and the Swedish Cultural Foundation in Finland.