Jordan Wolfson's work that created such bustle at the Whitney Biennial last year is on show at the Schinkel Pavillon in Berlin. But does it still work? Or is it yesterday’s news?
By Andreas Schlaegel
The 26 artists in the visually arresting New Museum Triennial 2018 in New York call out injustice but stop short of direct action.
By Cat Kron
Joachim Koester’s Bringing Something Back at Bergen Kunsthall manifests a sensuous cinematic holism that merges everything from biology to history and neuroscience.
By Nikita Mathias
Olga Chernysheva’s work shown at Kohta in Helsinki conveys both maxims to live by and ephemeral encounters with minuscule events.
By Riikka Stewen
Per Barclay’s Oil Rooms, on view at Kode 4 in Bergen, invites us to reflect on the unwritten histories that lurk beneath the official edifices of our culture.
By Nikita Mathias
It is Sami artist Britta Marakatt-Labba’s unbending faith in the power of storytelling and in the struggle against political oppression that makes her art so urgent today.
By Andreas Mangione
An exhibition by a group of young, international painters in the small city of Växjö engages with the bucolic setting of the Swedish countryside, fir tree, sauna and all.
By Matthew Rana
Nairy Baghramian’s sculptural work at the National Gallery of Denmark is an eloquent image of institutional porosity in an age where the institutional is something performed.
By Maria Bordorff
Swedish artist and poet Johannes Heldén explores the relationship between the book and the exhibition format in a way that is both illuminating and sincere.
By Jacquelyn Davis
Hanni Kamaly´s work about racial violence invites debate about cultural appropriation, but ultimately opens onto more complex questions of collective remembrance.
By Matthew Rana
Manipulate the World: Connecting Öyvind Fahlström at Moderna Museet confronts us with the question: what is the critical function of an image that shows that a cipher is a cipher?
By Kim West
Despite the subtly intellectual exterior, the underlying current of Ana Torfs’s works at Pori Art Museum is the violence of history.
By Laura Kokkonen
The Finnish photographer Heli Rekula translates a geographical journey into a narrative about the trauma experienced by Carelians after the Second World War.
By Riikka Stewen
The partial and contested history of the Scandinavian faction of the Situationist International is surveyed in an ambitious exhibition at Kristianstad Konsthall.
By Matthew Rana
Displaying marginal innovation, Louisiana’s Being There shows familiar post-internet art with a dash of humanism.
By Janus Høm
The exhibition Diorama. Inventing Illusion at Schirn Kunsthalle in Frankfurt misses the diorama’s potential as a tool to explore our digital present.
By Nikita Mathias
In Steinar Haga Kristensen’s solo show at Kunstnerforbundet in Oslo the characters haul art and art history around as if they were both a burden and a source of nourishment.
By Nora Joung
What is the secret to Matias Faldbakken’s artistic and literary success? Fearlessness.
By Sinziana Ravini
At Lunds Konsthall, Simryn Gill adopts the serpent as an emblem of the exhibition’s generative ambivalence.
By Matthew Rana
The Ovartaci exhibition at Charlottenborg is a welcome presentation of a vast, beautiful and peculiar body of work. It also highlights how contemporary art has lost all spirituality.
By Kaspar Bonnén



Kunstkritikk is published by Kunstkritikk Foundation ISSN 1504-0925

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

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Kunstkritikk is supported by The Norwegian Arts Council, The Norwegian Ministry of Foreign Affairs, The Freedom of Expression Foundation, The Relief Fund for Visual Artists, The Nordic Culture Fund, The Danish Arts Council, The Swedish Arts Council, and The Swedish Cultural Foundation in Finland.