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.
By Louise Steiwer
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.
By Lars-Erik Hjertström Lappalainen
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.
By Simen Joachim Helsvig
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.
By Nikita Mathias
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.
By Mathias Kryger
The contemporary art presented at the Sami anniversary was as much about mobilising for future struggles as it was about celebrating the past.
By Arne Skaug Olsen
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.
By Pernille Albrethsen
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 Ane Hjort Guttu
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.
By Simen Joachim Helsvig
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.
By Ferdinand Ahm Krag
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?
By Anders Kreuger
Johan Skoog’s exhibition about the late artist Richard Vogel emphasises working in common as a fundamental component of artistic practice.
By Christine Antaya
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.
By Fredrik Svensk
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.
By Maria Hirvi-Ijäs
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?
By Jonas Ekeberg
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.
By Andreas Schlaegel
The opening exhibition at Kunsthall Trondheim, this is a political (painting), advances a somewhat cautious take on body politics.
By Stian Gabrielsen
At Tensta Konsthall in Stockholm, Natascha Sadr Haghighian has created a space for the passions common to urban riots as a distinctly contemporary phenomenon.
By Lars-Erik Hjertström Lappalainen
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.
By Ferdinand Ahm Krag
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.
By Jacob Lillemose



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 Nordic Culture Fund, the Freedom of Expression Foundation, Oslo and the Danish Arts Council and the Swedish Arts Council.