Light, dance, sound, life and fog. A-form
was performed on the roof of the unfinished National Museum in Oslo, blurring the borders between object and environment.
Swedish art historian Kim West’s dissertation analyses how the 1960s vision of a ‘museum in movement’ transformed into an idea of the museum as a ‘catalyst for social change’.
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.
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.
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.
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.
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.
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.
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.
Arrested on glass vitrines at Oslo Kunstforening in the chilly manner of laboratory specimens, Camille Norment's tender baby skeletons still bubble with becoming.
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!
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.
Anna Boghiguian charts American colonialism through a poetic installation reminiscent of diary pages displayed directly onto the walls and floors at Index in Stockholm.
Endre Tveitan’s visually sparse video works at Kunstplass  tease objects that usually go unnoticed out on the dance floor.
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.
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.
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.
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.
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.
The contemporary art presented at the Sami anniversary was as much about mobilising for future struggles as it was about celebrating the past.