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
Critique and curiosity go hand in hand in Sidsel Meineche Hansen’s queer-feminist shake-up at Kunsthal Aarhus.
By Maria Bordorff
The recently opened Lafayette Anticipations in Paris is an attempt to reinvent the form of the art center for the age of capitalist realism.
By Kim West
The first Riga International Biennial of Contemporary Art emphasizes that we live in a time of change, but steers clear of specific socio-political issues.
By Jacquelyn Davis
In his work for this year’s IHME-festival in Helsinki, Henrik Håkansson turns to the intuitive dimensions of sound in an attempt to delve into the experience of being an insect.
By Sini Mononen
Sandra Mujinga’s Hoarse Globules at Young Artists’ Society in Oslo feeds on the dissonance between the post-digital fluid self and the fixed identities of representational politics.
By Simen Joachim Helsvig
Don’t be fooled by its congenial traditionalism, the 10th Berlin Biennale is not looking to make the viewer comfortable.
By Anthea Buys
Let the River Flow at Office for Contemporary Art Norway culminates three years of research into Sami art. It is a skillfull display, yet haunted by decolonial paradox.
By Stian Gabrielsen
If you are made of flesh and blood, you will think about biting or sucking the objects in Torbjørn Rødland’s photographs.
By Anthea Buys
Norwegian artist Siri Aurdal’s exhibition at Malmö Konsthall is an essential corrective to the male-dominated art history of late modernism in the Nordic countries.
By Kim West
This year’s instalment of the alternative art fair Alt_Cph manifested itself as a performance festival offering a queered blast of fresh air on the Copenhagen art scene.
By Maria Bordorff
The MFA Degree Show at the Academy of Fine Arts in Helsinki shows painting’s ability to address everything from the nature of different materials to the politics of migration.
By Sini Mononen
French artist and musician Félicia Atkinson’s exhibition at Krets in Malmö traces a series of drifts through the troubled landscapes of the American Southwest.
By Matthew Rana
What is the legacy of 1968? Children of the Children of the Revolution gathers five Nordic artists whose parents were active in the left movement of the 60s and 70s.
By Frans Josef Petersson
The most efficient images in Sille Storihle’s short film on teenage girls with ADHD is the intimate descriptions of restless heads, hands and feet.
By Nicholas Norton
Latin American concrete art shows us how formal experiments, utopian ideas and social concerns can overlap in unexpected and dynamic ways.
By Oscar Svanelid
Jordan Wolfson's work that created such bustle at the Whitney Biennial last year is on show at the Schinkel Pavillon in Berlin. But does it still work? Or is it yesterday’s news?
By Andreas Schlaegel



Kunstkritikk is published by Kunstkritikk Foundation ISSN 1504-0925

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

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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.