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
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.
By Sinziana Ravini
Inspired by science fiction, this year’s instalment of the Lofoten International Art Festival enters into a sensuous pact with the future.
By Stian Gabrielsen
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.
By Ingrid Halland
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’.
By Anders Kreuger
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.
By Frans Josef Petersson
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.
By Simen Joachim Helsvig
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.
By Nikita Mathias
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.
By Jonas Ekeberg



Kunstkritikk is published by Kunstkritikk Foundation ISSN 1504-0925

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

Kunstkritikk follows the Norwegian Press Association’s Rights and Duties of the Editor.

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.