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.
The 8th Gothenburg biennial takes on one of the pressing issues of our time. Yet the disparity between its its aspiration and the result couldn’t be greater.
Inspired by science fiction, this year’s instalment of the Lofoten International Art Festival enters into a sensuous pact with the future.
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.