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
The 26 artists in the visually arresting New Museum Triennial 2018 in New York call out injustice but stop short of direct action.
By Cat Kron
Joachim Koester’s Bringing Something Back at Bergen Kunsthall manifests a sensuous cinematic holism that merges everything from biology to history and neuroscience.
By Nikita Mathias
Olga Chernysheva’s work shown at Kohta in Helsinki conveys both maxims to live by and ephemeral encounters with minuscule events.
By Riikka Stewen
Per Barclay’s Oil Rooms, on view at Kode 4 in Bergen, invites us to reflect on the unwritten histories that lurk beneath the official edifices of our culture.
By Nikita Mathias
It is Sami artist Britta Marakatt-Labba’s unbending faith in the power of storytelling and in the struggle against political oppression that makes her art so urgent today.
By Andreas Mangione
An exhibition by a group of young, international painters in the small city of Växjö engages with the bucolic setting of the Swedish countryside, fir tree, sauna and all.
By Matthew Rana



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.