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.
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.
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 supplying art to the Police Immigration Detention Centre Trandum, KORO makes itself the extended arm of the government – not only as an organisation, but ideologically as well.
Democracy melts on the surface of a light-making machine. At Charlottenborg Hito Steyerl brilliantly demonstrates why: capitalism is realising the alchemists’ vision of commanding light.
Philosopher Georges Didi-Huberman’s exhibition at Jeu de Paume in Paris eloquently communicates the intoxication of rising up for freedom. But do we really need connoisseurs of uprisings?
Johan Skoog’s exhibition about the late artist Richard Vogel emphasises working in common as a fundamental component of artistic practice.
Lina Selander’s exhibition at Göteborg’s Konsthall shows that she is an enlightenment artist. Her work is about specific ways of creating distinctions and stopping the flow of images.
The EMMA museum in Espoo, Finland, celebrates ten years since its inauguration with a new exhibition series about time, gaze and the imprints made by human conditions. The first edition oscillates between inertia and provocation.
The National Museum’s presentation of Sidsel Paaske reveals the contours of a new, cultural art history. But the method prompts doubts: Can the artworks not stand their ground outside a rhetorical scenography?
An autumnal home story, a déjà-vu, and his trademark pastels: Marc Camille Chaimowicz furnishes his exhibition in sublime ambiguity, but the tyranny of our times pulls things into perspective.
The opening exhibition at Kunsthall Trondheim, this is a political (painting)
, advances a somewhat cautious take on body politics.
At Tensta Konsthall in Stockholm, Natascha Sadr Haghighian has created a space for the passions common to urban riots as a distinctly contemporary phenomenon.
Any painterly Eros in Sergej Jensen's paintings is necrophiliac by nature. The past served up as an outstretched hand that crumbles as you reach out to grab it.
A timely exhibition at Bildmuseet in Umeå takes a look at that which we cannot see, but which nevertheless impacts life on Planet Earth beyond the human scale.