Helga Christoffersen’s delectable group show at Galleri Susanne Ottesen leaves me angry, excited, and hungry.
By Louise Steiwer
At a time when Sami artists are increasingly visible, Britta Marakatt-Labba’s unsettling of ties between biography, identity, and content feels both necessary and urgent.
By Matthew Rana
‘Soul of a Nation’ at the Brooklyn Museum is an outstanding exposé of the art that emerged in tandem with the promotion of black collective interests in the 1960s and 70s.
By Karl Lydén
On Circulation at Bergen Kunsthall reveals symbiotic relations between living and dead matter. It is an art that critically opens up to the future.
By Sara R. Yazdani
For the 16th Luleå Biennial, the darkness of the polar night is imbued with dreams of new forms of aesthetic and political resistance.
By Frans Josef Petersson
Art historian T. J. Clark’s new book sketches a vision for a new political Left through the affective registers and subtleties of painting.
By Matthew Rana
Compact exhibition in Malmö shows an inclusive and pluralistic interpretation of Situationism while a giant exhibition in Berlin appears absorbed by the idea of the movement’s exclusivity.
By Niels Henriksen
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



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.