At almost 80 years of age, Swedish sculptor Lars Kleen aspires to renew his medium at every turn. His most recent work evokes the dire consequences of climate change.
By Frans Josef Petersson
Elmgreen & Dragset’s minimalist starfish installation in Paris resonates directly with the city’s self-image after the terrorist attack in 2015.  
By Louise Steiwer
Pierre Huyghe’s exhibition at Serpentine in London poses the question: what is the critical value of the open artwork in the age of participatory media apocalypse?
By Kim West
Jumana Manna has a journalist’s feel for the effects of intimacy. Sweat pours from her sculptures and films at Henie Onstad Kunstsenter.
By Stian Gabrielsen
With her New Museum retrospective, Sarah Lucas (almost) breaks free from the YBA generation, excelling with British toilet humor that speaks directly to the senses.
By Jeppe Ugelvig
The Moderna Exhibition 2018, Moderna museet’s quadrennial of Swedish art, allows the present to appear in full agony and confusion, beyond the glossy surface of the art scene.
By Lars-Erik Hjertström Lappalainen
The new, comprehensively renovated Nationalmuseum in Stockholm fails in coming to terms with the institution’s colonialist heritage.
By Frans Josef Petersson
A puff of a cigarette, a scratch in a table top – resistance manifests itself in simple gestures in Liv Bugge’s project in the prisons of Ullersmo and Eidsberg.
By Simen Joachim Helsvig
Cross-aesthetic becomes anti-aesthetic in Louisiana’s vastly overhung exhibition The Moon. And with so many good works on display, that is really a pity. 
By Kristian Vistrup Madsen
Maria Lindberg’s exhibition at Malmö Konsthall is a textbook example of how stripped-down everyday scenarios produce absurd effects.
By Fredrik Svensk
The mid-career survey by Danh Vo, one of the most internationally celebrated Danish artists, hits his hometown with a pop song title. But is it a hit – or a self-congratulatory pat on the back?
By Andreas Schlaegel
This year’s edition of Steirischer Herbst in Graz offers a generous dose of overblown kitsch, but why cynicism when reality has become its own cynical self-parody?
By Kim West
Rosemarie Trockel’s exhibition at Moderna Museet Malmö is as crisply cool and well-installed as it is true to its Rhineland roots.
By Pernille Albrethsen
Molly Lowe’s garish performance at Lilith Performance Studio in Malmö on Saturday was an exercise in totalitarian aesthetics.
By Matthew Rana
Franz West fought his whole life with the question of how he could achieve something by doing nothing.
By Sinziana Ravini
In Andrea Büttner’s exhibition Shepherds and Kings at Bergen Kunsthall, the art world paradox of affluence and critique is not so much addressed as it is perpetuated.
By Anthea Buys
Henrik Olesen's exhibition at the Schinkel Pavillon in Berlin wants to challenge established taste paradigms. But it's cool to be shabby, so how challenging is it actually to be cool?
By Kristian Vistrup Madsen
Walter Benjamin’s 1921 doctoral thesis on Jena Romanticism can help raise the bar for contemporary criticism.
By Lars-Erik Hjertström Lappalainen
Tom of Finland meets Clan of the Cave Bear in Rasmus Myrup's first-ever institutional show at Tranen.
By Louise Steiwer
Le peuple qui manque's exhibition at Konsthall C in Stockholm disrupt the colonial fantasy of the end of history in a way that is bursting with possibilities.
By Lars-Erik Hjertström Lappalainen



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.