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?
The 26 artists in the visually arresting New Museum Triennial 2018 in New York call out injustice but stop short of direct action.
Joachim Koester’s Bringing Something Back
at Bergen Kunsthall manifests a sensuous cinematic holism that merges everything from biology to history and neuroscience.
Olga Chernysheva’s work shown at Kohta in Helsinki conveys both maxims to live by and ephemeral encounters with minuscule events.
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.
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.
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.
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.
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.
Hanni Kamaly´s work about racial violence invites debate about cultural appropriation, but ultimately opens onto more complex questions of collective remembrance.
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?
Despite the subtly intellectual exterior, the underlying current of Ana Torfs’s works at Pori Art Museum is the violence of history.
The Finnish photographer Heli Rekula translates a geographical journey into a narrative about the trauma experienced by Carelians after the Second World War.
The partial and contested history of the Scandinavian faction of the Situationist International is surveyed in an ambitious exhibition at Kristianstad Konsthall.
Displaying marginal innovation, Louisiana’s Being There
shows familiar post-internet art with a dash of humanism.
The exhibition Diorama. Inventing Illusion
at Schirn Kunsthalle in Frankfurt misses the diorama’s potential as a tool to explore our digital present.
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.
What is the secret to Matias Faldbakken’s artistic and literary success? Fearlessness.
At Lunds Konsthall, Simryn Gill adopts the serpent as an emblem of the exhibition’s generative ambivalence.
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.